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THE BOOK OF ENTERTAINMENTS 
AND THEATRICALS 


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The 
Book of Entertainments 
and Theatricals 


by 

Helena Smith Dayton 
and 

Louise Bascom Barratt 


Illustrated 


New York 
Robert M. McBride & Company 
1923 


COPYRIGHT 1923 By 


ROBERT M. MCBRIDE & CO. 
‘AT RA a ES a eS 


Printed in the United States of America 


Published, 1923 











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CONTENTS 


CHAPTER I 
PAGE 


CONCERNING THE ENTERTAINMENT COMMITTEE . . mate 


Committee work is at some time inevitable. 

Organization affairs must be properly conducted. 

How to select capable workers. 

Importance of knowing history, aims and policies. 

Why definite plans for discussion should be worked out in advance 
of meetings. 

Value of the background members of committee. 

Coping tactfully with impractical suggestions. 

The danger of accepting gift horses. 

The value of inviting suggestions from the organization at large. 

What to accept and what to discard in criticism. 


CHAPTER II 


THE IMPORTANCE OF AN IDEA . wand ey inite ea dap & 


It is essential that a function should be built around an idea. 
Putting novelty into an old theme. 

Method of acquiring ideas. 

Adapting transported novelties 

Locale often suggests possibilities. 

Value and danger of timely ideas. 

The lure of an attractive name. 


CHAPTER III 


MAKING ARRANGEMENTS : : Perna? . ’ : . 21 


Why the date should be first detail decided. 
Selection of place. 

Contracts and agreements. 

Estimating attendance. 

Pricing tickets. 

Controlling expenses. 

Engaging music. 

Licenses, permits and fire laws. 

Private detectives for large gatherings. 
Sending out invitations and announcements. 


CONTENTS 








CHAPTER IV 
“ PAGE 


PLANNING THE PRINTING . ° ‘ ° . iow SEs. & 


The importance of attractive announcements. 
Use of illustrations. 

Laws governing proportion. 

Arrangement of type and illustrations. 
Follow-up notices. 


CHAPTER V 
PUBLICITY > ° ; : BL nt ‘ . wh ore 


Forms of publicity. 
Preparing newspaper stories. 
Publicity photographs. 
Posters and window cards. 
Circulating signs. 

Billboards. 

Advertising space. 


& 


CHAPTER VI 
THE TICKET PROBLEM . suite be he . o\ jet » 56 


What information should be printed on ticket. 

Advantage of different colored stock for special occasions. 
Tickets for dinners. 

Advance sale of tickets. 

Why tickets should be numbered. 

Keeping record of purchasers. 

Supper checks. 

Collecting and selling tickets at door. 

Complimentary tickets. 


CHAPTER VII 
DECORATIONS. . . ee rh 


Modern parties require effective backgrounds. 
Value of original amateur decorator over stereotyped professional. 
Keeping expenses within bounds. 

How to transform ballroom into any locale. 
Use of paint. 

Decorative lighting. 

Booths and tents. 

Use of fabrics. 

Outdoor effects. 

Decorative suggestions. 

Where designs may be found. 

How to get work done. 

Practical decorations for outdoor events. 
Making effective flowers quickly. 


Easily made favors. , 
vi 


CONTENTS 





CHAPTER VIII 
PAGE 
COSTUME DANCES . e . Baap Reh Que adi a > 8 - 83 


Why costume dances are popular. 

The new note in costume affairs. 

Unusual bails given in New York. 

Ideas for costume parties. 

The mooted question of admitting guests in evening dress. 
Business arrangements. 


CHAPTER IX 
COSTUMES . ° : ° ° Sead We Tce MR sa Tra ede sam RT AN regal KAS 


The rented costume and what to avoid. 

Assembling impromptu costumes. 

How to make Turkish trousers, ballet skirts, pirate boots, Chinese 
hats, etc. 

The etiquette of borrowed costumes. 


CHAPTER X 
CHARITY BAZAARS ° ° . . atts Na dos at ’ - 118 


Conformation to general scheme most effective. 
Popular booths. 

Street fairs. 

Famous and picturesque fétes. 

Large committees desirable. 

Soliciting donations. 

Consigned articles. 

Publicity. 

Underwriting project. 


CHAPTER XI 
SOCIETY CIRCUS. . . ° ‘ ° wee ° ° - 140 


Posters and other advertising. 

Selection of acts. 

Arrangements of rings and seats. 

How to make animal costumes, chariots, etc. 
Side shows and booths. 

Regulation of motor traffic. 


CHAPTER XII 
PAGEANTS ° . : ° ° . . wR ete ew ° » 152 


History and growth of the pageant. 
Value of pageant to a community. 
Varieties of pageant. 


The business side. i 
vii 


CONTENTS 





How to write a local pageant. 

Inception and growth. 

Selection of location. 

Choice of episodes. 

Examples of episodes. 

Costuming. Music. Dialogue. Rehearsals. 


CHAPTER XIII 


PAGE 
DINNERS. ; . . ° 0 isa a ae e. hhe - » 163 


Why menus lack variety. 
Business arrangements. 
Arrangement of tables, ete. 
Controlling speakers. 
“Speechless” dinners. 


CHAPTER XIV 
COLLEGE REUNIONS . ° ot) pe CM i » 173 


Arousing interest. 

Enlisting talent. 

Spirit of competition. 

Arranging for songs, etc. 

Necessity of filling every hour with activity. 
The question of returning with families. 
The class dinner. 

Insignia and uniforms. 

The Year Book. 

Planning class program to dovetail with other college events. 
What information should be sent classmates. 
Managing finances. 


CHAPTER XV 
EXHIBITIONS . ° . ° . ° . * ’ . » 185 


What an exhibition accomplishes. 
Ideas for exhibitions. 
Management. 

Creating interest in subject. 


CHAPTER XVI 
RAISING MONEY 00000000000 Ue UC SS 


Putting imagination into soliciting. 
Sub-letting lecturers, theatres, etc. 
Sale of bonds on club houses. 

Making a game of the job. 

Value of emotional appeal. 

Rummage sales. 

Small schemes realize important sums. 


Vili 


CONTENTS 





CHAPTER XVII 
PAGE 


DRAMATIC PRODUCTIONS . Sith a ete Maer ah oa age 410 


Kinds of plays to select. Where to find them. 
Sample bills. 

Metropolitan successes. 

Typed parts. Explanation of script directions. 
Helpful rules for novice actors. 


CHAPTER XVIII 
REVUES AND VAUDEVILLE . : PURE Aha 4. She arin caine $k 


How to arrange. 
How to rehearse. 
How to avoid waits between scenes. 
How to costume. 
Sample bills. 
Where to get orchestrations. 
Necessity of a musical director. 
Speeding up the show. 
CHAPTER XIX 


SCENERY ... . PT UN Ra ea ana UN a ee Ye 4 | 


Canvas sets. 
Draped sets. 
Cycloramas, back drops and borders. 
Wings and backings. 
How to make a window. 
Illuminated columns. 
Examples of scenes. 
Selection of fabrics. 
Floor cloths. 
Grass. 
Use of linoleum. 
CHAPTER XX 


LIGHTING . . ° . . ay ie, Qe Se pat Branch in? whe ae 


First step in lighting. 

Old traditions. 

Borders. Strips. Foots. Spots. 

Floods. Dimmers. 

Gelatines. 

Effects of different colors on fabrics and faces. 
How to color bulbs. 

How to arrange lights on small stages. 


CHAPTER XXI 


STAGE PROPERTIES AND DRESSING Say msis lea ie, Se alee aee 


What constitutes properties. 
How to rent, buy or make them. 
ix 


CONTENTS 





The care of properties. 
The importance of stage dressing. 


CHAPTER XXII 


PAGE 
STAGE COSTUMES . . . : ° : ° . ° . » 251 


Necessity of authenticity. 

Clothes conventions should not be ignored. 
Styles and colors to be avoided. 

Safest colors. Advisability of appropriate dress, 
Dressing in character. 

How height may be affected by clothes. 


CHAPTER XXIII 
MAKE-UP . ‘ , ° : . ° . 4 . Ph a » 256 


Use of professional make-up men. 
Varieties of make-up. 

List of make-up material. 
“Placing” features. 

Formula for applying grease paint. 
Straight make-up. Dry make-up. 
Miscellaneous necessities. 

How to depict age. 

Wigs, whiskers, etc. 

Character and other make-ups. 
How to remove make-up. 

Use of pictures. 


CHAPTER XXIV 
MECHANICAL EFFECTS > , . . 4 Py er . . 269 


How to make thunder, rain, snow, noises, etc. 


CHAPTER XXV 
THE STAGE DIRECTOR . ° ° . » . * . . » 275 


Calling rehearsals. 

Management of cast. 

Property lists, changes in script. 

Light and music plots. 

Rehearsal of stage crew. 

Clothes baskets excellent property containers. 

Eliminating prompter. 

Assigning dressing rooms. 

Posting scenes in consecutive order. 

Duties of call boy. 

Professional conduct during performance. 
x 


CONTENTS 





CHAPTER XXVI 

PAGE 

HOW TO BUILD A PRACTICAL STAGE ... * ° 2 a BSA 
CHAPTER XXVII 

MISCELLANEOUS DUTIES OF A COMMITTEE - ‘ : » 291 


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LIST OF ILLUSTRATIONS 


ILLUSTRATIONS IN HALF-TONE 
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Porcelain Figures with Oil-cloth Costumes . . . . . ... .. A1I7 
ieonection Of Garden Implements . . . « «© © « « « « ©, 137 
Pirin vinw or southampton Fair. 3. 3 ke ele ee we 138 
Water Adds to Pageant Pictorial Effectiveness . . . « . « « 159 
EEIMELSE sng Sosy hat a otie! Well GaN Jeviies teh rey wR OO 
An Atmospheric Setting from a Recent Revue ..... « . 202 
Brilliant Oil-cloth Flowers Against a Cyclorama . .... . . 203 
Fashion Models of Yesterday Go) ry Welikea Ate at EIR TY ee oe %, bbs we | ak Mame eee 
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Elizabeth’s (Court in Greenwich Village |.) \'.).\ 0!) <\\ "eu ee ee eens 


An) Easy Orientalr Set eee 8 ee ee ne 
An English Baronial Hallo) 60 ie) fea esol iene ce reas 
Annual Park Avenue Fair.) '3 668 ).6))) 06 penton eens aie 
Park Avenue Fair 0f 1923 0000 a) ec 
Examples of Character Make-up’). 6) 'e)\, 6 ile) Wel eee oe 
A\\Japanese’ Print, Tableau 6) 0a)! eek ey oy 
*“Desert' Dance”’ Mural Decorations .  < .\))'s Je) je) «|e elena 


“Ivy Ball” Decorations . e . e . e e e @ 6 ee e e e eel yf 


ILLUSTRATIONS IN TEXT 


PAGE 
No) Subject is too Old)to, Adapt oj.) a) e) 18) 3. el et) Ae 


A Poster should Appeal to the Eye \.. ,. | «'.«. \) 0 ter) ellnie cea ieann aes 
Announcement of | Costume Dance) .)0 006) 
Charts of! Physical and Optical Centers) ...\. ¢))//si eee 
Arrangement. of ‘Type (soi) ye ee 
Arrangement of Lettering 00) ee a 6) me Nec 
Specimen of Folder (oi) se Re a 
Design Announcing Auction). 4006) 6) ie ie) alee 
Booth Designs . Sy el elles iG lkepeilels te Jk el enn eG hr 
Compo Board) Booth 200300 o'er eal eit ae 
Poturistic: Flowers (1.3 ie ee) eo el 
Flower Patterns 0/0065 je ie eee) el Nites wil ehh einen delet 
Figurine (Foundations (600008) 8 eo) eis le la) an an 
Costume Ball Invitation Pre iervmrrnr mun re eh 
A Final (Notices 3.0/0 ee ee ear es ee 
Turkish / Trotisér,/Desigm 20/0) 06 elie 01) 0 i set! el ie 
Chinese Hats and Pirate Boot... 0.) 6) 6) 6 8) 0 eee 


Blower |Bootu i) Mie ae el pe le ile by eel) UE oe Se 
xiv 


ILLUSTRATIONS 








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THE BOOK OF ENTERTAINMENTS 
AND THEATRICALS 


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CHAPTER I 
CONCERNING THE ENTERTAINMENT COMMITTEE 


Committee work is as inevitable as babies and false teeth. 
Some time, some where, no alibi will serve and the most in- 
veterate committee dodger will be scheduled to build a 
new club house or order a banquet. When that day comes 
it is better to accept without modest comments to the effect 
that somebody else can do the job better or that one really 
hasn’t time. Both pleas may be true, but they also apply 
to most of the club members. Organizations do not con- 
duct themselves and to belong to one without willingness 
to assume a share in its burdens is as bad taste as to expect 
the neighbors to furnish one’s meals. ‘There is nothing 
more disarming than gracious acceptance. It obviates the 
necessity of overcoming doubt inevitably engendered by 
reluctance and automatically stills many a comeback. 
Those who have had the experience of trying to collect a 
donation from a man expected to give five thousand dollars 
know that when he talks fluently about the worthiness of 
the cause and his extreme delight in presenting fifty and 
bows his callers out with thanks for having troubled him 
there is absolutely nothing more to be said. ‘The same is 
true of the offered position—a smiling acceptance creates 
the impression that one is equal to the situation even though 
one’s knees knock and one believes committees an invention 
of the founder of sin. 

_ Just when the reviled things first came into existence 
nobody seems to know, but it is not improbable that prehis- 
toric man organized the original representative three or 


pa 


THE BOOK OF ENTERTAINMENTS 





five to chase pterodactyls out of the spinach beds. Cer- 
tainly committees are a necessity, for assemblies are too 
large and unwieldy to accomplish results without delegating 
members to act as ‘‘eyes and ears,” “‘head and hands,” and 
more important, at least in the minds of weary commit- 
teeites, “FEET.” 

The inexperienced committee worker, when actually 
caught and branded, usually suffers acutely from an “infe- 
riority complex.” The task looks mountain high and 
ocean wide. It seems impossible to put it over. Further- 
more, one never has the slightest idea how to go about it. 
Instead of formulating plans the mind seems suddenly to 
have indulged in an unauthorized Sabbatical leave. Then 
the clouds part! ‘The thing to do is to consult the previous 
chairman! 

Fatal anticipation! The ex-chairman has forgotten 
what was done before. ‘Everything has been changed 
since then anyhow,”’ it is airily explained. Information is 
so niggardly as to be practically negligible and reports are 
discouraging. If sugggestions are offered the result is 
disastrous for they serve to stifle imagination and initiative. 
It usually saves time, therefore, to depend on oneself and 
not try to model procedure on previous experiments. The 
more original the plan the less violent the opposition. At 
least that bugbear, ‘‘We tried that and it didn’t work,” is 
effectually throttled. 

In the case of a committee chairman one of two things 
occurs. The fellow workers have already been bequeathed 
or must be selected. In the first instance it invariably 
seems monstrous that one must be saddled with the incu- 
buses provided, but this viewpoint is easily dispelled upon 
remembering that committee work is really a valuable 
means of self-education and discipline. Through it toler- 
ance and broad mindedness may be achieved. Almost in- 
variably, too, it brings out through close contact and the 


[2] 


THE ENTERTAINMENT COMMITTEE 





stimulation of party feeling undreamed of points in the 
characters of fellow workers. 

Where the selection of a committee depends upon its 
head, a very natural mistake is usually made. Big names 
or names of those who have served on previous committees 
are almost invariably chosen. Now one celebrity on a 
committee may give it prestige, but too many are apt to 
result in a body of slight accomplishment. It is more or 
less customary to pass over back-sliders and little known 
members. Yet these persons are frequently, if not invari- 
ably, the most efficient workers. It is axiomatic that the 
only way to like a cause is to work for it and that benefits 
are derived from an organization in proportion to the 
amount of work put into it. 

A club run by a nucleus year after year is apt to be or to 
become a weak organization because the other members 
are deprived of the stimulation of giving constructive labor. 
The things that come too easily never have been and never 
will be appreciated. Because Xyla Zee has never done 
anything of the kind is no reason that a person should not 
or could not startle the society with brilliant coups. There- 
fore, excellent club policy is to seek out submerged members 
and bring them into the limelight. Wise is the committee 
leader who remembers this for such an action will furnish 
large rewards in the way of actual accomplishment. 

With the personnel of the committee complete, the next 
measure before actual formulation of ideas is to become 
acquainted with the general policies and politics of the 
society and the views of its members. This familiarity 
with club ideals, history and the details of the situation 
which gave rise to the need of a committee is not only essen- 
tial in preventing clashes and false moves, but a really suc- 
cessful committee is impossible without a thorough knowl- 
edge of club personnel. For this reason every committee 
should catalogue the material it may need. It is not, of 


[3] 


THE BOOK OF ENTERTAINMENTS 








course, necessary to commit to paper the item that Zam- 
boula Slam is a singer; that Wilda Catt’s husband is a 
printer, and Zev Zeedner knows all about spiritualism, but 
all this should be noted in the committee consciousness. 
Every organization is composed of many different kinds of 
people from various walks of life. In this variety of 
tastes, conceptions, desires and interests lies the strength of 
the assembly, for it would soon die of stagnation and inertia 
if all were alike. Now some of these members will be ex- 
cellent for amateur theatricals, others are home lovers or 
decorators, still others are musicians, artists, etc. Where 
the cataloguing system is employed, someone who has 
always lived in a boarding house and does not know mar- 
quisette from a canary will not be put on the house com- 
mittee. Again, sworn enemies will not be assigned the 
same task. ‘The man or woman eminently fitted for one 
variety of job may make a mess of something else. It is, 
therefore, essential that individuals should be chosen with 
foresight and knowledge. It is not at all unusual to hear 
a chairman say, “‘I left that to X and a dreadful fizzle 
was made of it.’ Exasperating, of course! But the chair- 
man should never have assigned a task which could not be 
performed by the person chosen. This cataloguing system, 
while more intricate, will obtain for any committee far 
more satisfactory results than the old method of selecting 
Dee because of popularity or because that good person 
seemed less capable than anyone else of using an icepick 
on the skull of the appointing chairman. 

Sometimes the chairman would like to use an ice pick 
or a shot gun on some of the members at large, because 
they make necessary one of the most important functions 
of a committee, viz, the sidetracking of suggestions. There 
is nothing more customary or more disheartening, when 
an attempt is being made to do something different, than 
to be accosted with suggestions incredible in their banality. 


[4] 





THE ENTERTAINMENT COMMITTE 





No dinner, pageant, or dance has ever been given that 
some thoughtful soul did not advance the suggestion that 
Japanese parasols be used as decorations and favors. More- 
over, when the club is located in a large city where there 
are numerous Oriental stores, the well wisher always knows 
of the “loveliest place’’ in a town three thousand miles away 
where things can be bought. Just to be helpful letters 
are usually offered to Mr. » ‘Well, I can’t remember 
his name, but he’s at the first counter on your left as you 
go in.” 

Occasionally the ideas brought forward are not pro- 
verbial “chestnuts,” but suggestions which run counter to 
club policy or are apt to jeopardize the institution’s repu- 
tation. The inclination of the weary committee member is 
to brush aside these useless contributions with irritation or 
impatience. Such a course is unsound for several reasons. 
One is that the more strongly a club stands behind its 
committee the more advantageous it is for both. There- 
fore, it is never well to alienate members by hasty answers. 
Again, the fact that one person one day advances a per- 
fectly ridiculous suggestion does not argue that the same 
person won’t bring forth a scheme of exceptional merit on 
another occasion. ‘To administer a snub is to cut oneself 
off from possible help at some future time. The chances 
are that out of ninety-nine volunteered suggestions there will 
not be one worth repeating, but in the hundredth may lie 
concealed the germ of a thought that is really priceless. 
It is advisable, therefore, to listen attentively, answer 
letters courteously, but in so far as possible avoid making 
definite replies. By stalling for time there is the chance that 
the originator of a pet offering will forget it or take a trip 
to Palm Beach or conceive a scheme more appealing. A 
wise speech for such occasions, therefore, is something like 
this, ““That is an interesting idea. I'll talk it over with the 
committee. While we have made arrangements which I 


[5] 





THE BOOK OF ENTERTAINMENTS 








fear will preclude using your scheme, I’m sure it will be 
pleasant to work it in if we can.’ Later a courteous 
note may explain that there does not seem to be room 
for the plan at the moment, but that it might be taken up 
with the new committee the following year. In some 
instances, it is better to explain frankly why a suggestion is 
not feasible. When Mrs. Plank insists upon inviting Mr. 
Hicks for a course of lectures there is no use postponing the 
issue if he happens to have been implicated in the murder 
of the president’s husband or forced her father into bank- 
ruptcy! Such complications should be explained. While 
these instances may seem extreme, they are no more un- 
usual than some of the questions which arise. Either 
through ignorance or because of lack of thorough investiga- 
tion of proposed measures, the most unbelievable ideas are 
invariably advocated. ; 

One of the most dangerous suggestions always comes 
when the committee is worn out and several planned events 
have fizzled or seem very wobbly. ‘I know just the singer 
you want to take Galli Curci’s place,’’ beams a well wisher 
and the whole committee experiences a wave of relief. 
Galli Curci is laid up with tonsilitis, the tickets are sold, the 
refreshments are bought, a speaker is coming from Boston. 
What can be done? The natural reaction is to fall on the 
neck of the heaven sent one and weep in one voice, “Oh, 
can you—will you get her?”’ Such temptations should be 
treated like snakes. Nobody’s word should ever be accepted 
in such instances without considerable verification from 
other sources. Judgments vary. Of three hundred in a 
club a proportion will still be in the golden oak period of 
taste. One’s test of a voice is a shriek which can be heard 
above a steam riveter; another considers ability to race 
through Rigoletto from memory as an Open Sesame. It 
is, therefore, paramount that the standards of the person 
making the recommendation should be well known. Unless 


[6] 


THE ENTERTAINMENT COMMITTEE 








suggestions in this regard can be backed by the seconding 
of critics in the line it is better to ignore them. Occasion- 
ally a prize may be lost, but the chances are more generally 
in favor of the committee’s being saved from disappoint- 
ment and sure criticism. 

Often, too, suggestions come which are bad and which 
the committee knows are bad and yet which claim atten- 
tion as matters of policy. It is not unusual to see an excel- 
lent program marred by a number of questionable merit. 
When such an instance is probed it is usually found that 
the owner of the hall offered a reduction of the price if his 
wife were given a try out or that the rich Mrs. Graball had 
promised the club four much needed rugs and it had seemed 
impolitic to ignore her suggestion that her niece recite 

Gunga Din. It is unfortunate that such matters should 
be considered, but it is probable that assemblies will never 
reach the state of perfection where a certain amount of 
lobbying will not exist.. Sometimes committees ignore it 
and achieve a perfect function, but it is a question whether 

_any affair, no matter how brilliant, is really satisfactory if 
it makes enemies for the club or of its members. 

While the committee usually discovers that most sugges- 
tions require elimination, a point should always be made 
of asking for them quite early in the game. ‘This may be 
done by individual letters to members or by a request in an 
open meeting. These invitations are seldom answered. 
They are really only an invention for the protection of the 
committee. When criticism begins such as, ‘‘Did you ever 
hear of such a ridiculous plan?” or, “I’d never have the 
nerve to put it on,” the committee has only to say, ‘“‘We asked 

~ you, but you had no suggestions.’”’ Moreover, if all are ap- 
proached for ideas they acquire the feeling, even if they 
offer none, that the final plan was part of their creating and 
so are apt fo be better satisfied and content. 

To accept a place on a committee without expecting crit- 


[7] 


THE BOOK OF ENTERTAINMENTS 








icism is as unintelligent as to think the world is flat. There 
never was a plan consummated yet which met universal 
approval. There never will be one. A program, func- 
tion or scheme may be put over with such eclat that every- 
body wants to claim part of the credit, but while the 
actual preliminary labor is in progress there are always 
“kicks.” 

Criticism is of two kinds—constructive and destructive. 
Some of it is helpful in aiding the committee to get a better 
perspective on its endeavors. Most of it is actually per- 
nicious. When a committee has worked night and day for 
two weeks on a dance only to hear, ‘‘What rotten refresh- 
ments,’ the inclination is to color the air with a fancy 
exhibition of pyrotechnics. The proper thing to do, how- 
ever, is to analyze the statement. Was it made because Mrs. 
Blank’s husband is the town’s Sherry and was underbid? 
If so, the matter deserves no serious attention. If, on the 
other hand, the complaint originated from one seldom 
known to murmur, further investigation is necessary. 

Many may invite criticism, but nobody really enjoys it. 
Perhaps there is no better indication of a great nature than 
ability to listen to it. The committee which can bear fault- 
finding with equanimity and carry on under fire to the best 
of its ability is sure to find itself eventually scheduled for 
cheers and medals, and, most wonderful of all, the glorious 
sensation of having been right all the time. 

It is no easy matter, when a committee conducts matters 
successfully, to keep a modest heart and the face of an un- 
sophisticated school child. Yet there is nothing more per- 
nicious or more detrimental to committee triumphs than to 
allow a feeling of self importance or self consciousness to — 
pervade one’s attitude. Such a viewpoint is ridiculous, 
for someone else would do the job if that particular 
incumbent or incumbents were incapacitated. As long as 
the Ego is unannihilated, slights, criticism, and suggestions 


[8] 


THE ENTERTAINMENT COMMITTEE 





are sought, found and resented. When an impersonal 
attitude is cultivated it is possible to listen even to a béte 
noir with equanimity. If the thought is constantly held, 
‘This is for the Club. I am the Club’s deputy,” the embar- 
rassing personal feeling of dislike for certain members and 
reluctance for undesirable jobs will either disappear or be 
reduced to a minimum. There will then be uppermost the 
mood of self-effacement and dogged desire to complete the 
work because it must be done—the ideal state of mind for 
every committee. Curiously enough this is the mental 
attitude which almost invariably leads not only to club 
triumphs, but to great personal rewards for the worker. 
Every successful committeeite is really a twenty hour a day 
laborer, unprotected by any union. It is essential, there- 


- fore, to use the wits to secure a lightening of the load. 


The president and treasurer of the organization should 
be informed and kept in touch with what is going on. 
Such procedure eliminates unexpected opposition when 
plans are actually formulated. These two officers can 


smooth the way in many respects and even though they 
may not be directing matters they should keep their fingers 


on the pulse of events. Certainly it is better to go hand 


| in hand with them. 


While some committees may discuss Mrs. Chadwick’s 
divorce and why Emilie Sant has gone to Southampton in 
an off season, it is advisable to refrain from gossip and 
all personal matters while engaged in committee work. 


Irrelevant remarks lead to dalliance and while this may 


be pleasant and enjoyable during an actual session, it is 
usually resented later when the workers return home with a 
sense of unaccomplishment. A tactful chairman should 
keep the conversation pertaining to the business at hand. 


Some chairmen seem to think that their raison d’étre is 


to call committee meetings, which accounts somewhat for 
the reluctance of many persons to serve. Either by experi- 


[9] 


THE BOOK OF ENTERTAINMENTS 








ence or hearsay they know that much of their time will be 
involved with no tangible results. A chairman who calls 
a meeting with no definite plans formulated for discussion 
is not only inconsiderate, but a thief of time—a commodity 
which grows increasingly precious in these overcrowded 
and hectic days. Fewer committee meetings and more 
work should be the slogan. 

This should not be construed that a chairman should 
do all the planning and all the work, keeping the committee 
in ignorance of events till the glorious or fatal moment of 
consummation. Three or five persons are generally chosen, 
on the theory that several heads are better than one. Now 
it usually happens that the chairman or somebody else 
does all the planning, for everybody, no matter how anx- 
ious, may not be gifted with originality and creative ability. 
The real purpose of the other members is to act as an 
anchor. They keep the originator from being carried away 
by rashness and help give a perspective on ideas that it is 
impossible for one person to obtain. Not only is the 
theory of balance excellent, but there is another indisputable 
fact to be remembered. A committee once chosen must 
suffer the blame as well as the rewards of service. It is 
not fair, therefore, that members should be subject to criti- 
cism for plans in whose making they had no voice. Again, 
when every committee member is conversant with the pro- 
posed program, it is possible to answer questions from 
members at large and so help to dispel the usual query, “‘Is 
anything being done?” 

The ideal arrangement is for the chairman to work out 
a general elastic plan and call the committee together for 
comments, suggestions, criticism and amendments. To 
leave the creation of ideas until a committee meeting is alto- 
gether erroneous, for the minds of few persons work on 
the spur of the moment. It takes at least one plan, no 
matter how inadequate, to stimulate suggestions. Indeed, 


[ 10 ] 


THE ENTERTAINMENT COMMITTEE 





it is more than probable that from the tentative first scheme 
an entirely new one will spring. Certainly time spent trying 
to get a good working idea is never wasted, for everyone 
is more zealous in putting over something worth-while. 

In planning all programs an endeavor should be made 
to keep them as varied as possible, to use as many people 
as possible, to arrange them well in advance of the time set 
so that nothing is left to chance and above all to err on 
the side of brevity rather than length. ‘The first item is 
stressed because programs are usually arranged by what 
the committee itself likes or what it thinks the public likes. 
Both plans are restrictive because the committee may be 
more advanced than its public and because the public 
often pretends to like things it thinks it ought to like, 
but doesn’t really enjoy. ‘Therefore, in musical pro- 
grams diversification should be the aim. There should 
be sad selections, glad selections, bits modern and classical. 
In this way some particular number is sure to please some 
particular person, whereas, otherwise, some of the audience 
will return home without having enjoyed anything. Of 
course, where a lecture afternoon is planned, a great many 
people cannot be used, but in amateur theatricals, musicales, 
and many other entertainments it is possible to include many 
names. ‘The value of this is that interest is multiplied. 
Twenty persons working for a cause naturally make it 
stronger than five connected with it. Moreover, twenty 
have more followers than five. The advisability of pro- 
grams not overly long and arranged in advance is too 
obvious to require explanation. In getting them ready 
for the printers great care should be taken that no credits 
are omitted. To this end every program should be 
checked by more than one person. Life long enemies 
have been made because, in arranging a program, every 
performer but one was mentioned. Likewise firms donating 
pianos or other necessities should not be overlooked. 


[11] 


THE BOOK OF ENTERTAINMENTS 





Where theatres are used programs are usually arranged 
for, but when the organization attends to its own, the cost 
is, of course, reduced by selling advertising space and also 
by asking a small fee for the program itself. 

Moreover, though it should be planned in detail as 
far in advance as possible, the actual printing should not 
be done till the last possible moment, as there is al- 
ways the possibility of sickness on the part of a per- 
former or the chance that some unexpected treat may be 
added. ‘The chief necessity for every committee is to com- 
plete a plan, have it discussed in relation to other plans, 
its probable failure or success, and then set committee 
individuals to work on the arrangements, publicity and the 
many other items which dovetail to bring about success for 
the club and triumph for its emissary. 





The original committee chasing pterodactyls out of the 
spinach beds 


[ 12 ] 


CHAPTER II 
THe IMPORTANCE OF AN IDEA 


The trouble with most unenjoyable social affairs is that 
they are idea-less. Once in fourteen summers somebody 


says, ‘‘Let’s give a party,” and everybody gets together and 


has a good time with very little prearrangement, but this is 
not only exceptional but phenomenal and the chances are 
that if the matter is probed it will be found the festivities 
are really directed by a dominant figure whose ideas are 
perhaps more or less spontaneous. As a rule, a function 
carried out minus theme is a sad and unmelodious affair. 
Large parties are so apt to go wrong even when carefully 
planned that nothing should ever be left to chance. Where 
a Mineola citizen is merely entertaining to wipe out indebt- 


edness to the neighbors, a failure, though dismal, may not 


be an irretrievable affair, but no club or society can ever 


afford to have anyone remark, ‘‘Oh, it was just the usual 


thing.” The particular reason for this is that organiza- 
tions nearly always entertain with a purpose, namely, to 
raise money, to promote fellowship among members, or to 
increase membership. Success, therefore, is imperative. 
The public has been mulcted out of so much in the past that 


the word amateur has fallen into disrepute and it is becom- 


ing increasingly difficult to inveigle people at large into 
places where the entertainment is not only poor, but 
wretchedly managed. If the entertainment is a first affair 
it is essential it should be excellent in every way, so that the 


public will not only feel it has received its money’s worth, 
but be willing and anxious to come again. If it is a second 


[ 13 ] 


THE BOOK OF ENTERTAINMENTS 





or twenty-second affair it is even more necessary that it 
should outclass its predecessors in order that word may 
circulate that the ‘‘Lambs of Snow,’ or whatever the or- 
ganization may be, is not only abreast but ahead of the 
times. Such rumors not only interest the public, but en- 
large the membership list. Failures diminish membership 
because nobody wishes to be affiliated with a club which 
has gained the reputation of being a back-number. 

Competition in all lines of endeavor is very keen. The 
only way to keep ahead is to have a better idea than the 
other fellow and then back it up with enthusiasm and work. 
A business to succeed must be run with or from an idea—an 
idea of service, courtesy or everything for a dime. A 
grocery store conducted without plan may meet expenses, 
but it is seldom talked about. It must voice something 
different, some particular need. The same is true of a 
function. It is not enough just to give a party. It should 
be some particular kind of a party—colorful, amusing, 
picturesque, instructive or whatever the fancy may dictate, 
but it must be different. 

The greatest difficulty is to select the proper idea. This 
would not be so trying if people would let themselves go, 
or in the words of a popular comedian, ‘‘Be yourself, lady, 
be yourself!” If imagination could only roam untram- 
melled by ifs and buts, there would be much less stiffness, 
and certain members of the family would not require almost 
physical dragging to every social function. 

The trouble is that the intelligencia of the world is 
divided into originators and copyists. The latter will not 
wear a hat till they have seen one like it while the former 
will not wear one if they have seen one like it. The copyists 
are in the majority because they are afraid to deviate from 
convention. Fear of doing the wrong thing or running 
counter to accepted practice or being talked about is one of 
the bugaboos of American life. This is a vicious and deadly 


[ 14 ] 


THE IMPORTANCE OF AN IDEA 








thing because it annihilates initiative and originality, and 
without these there can be no ideas. 


“COME RAIN OR SHINE’’. Extract fom NOAH’S 
invitation to the first annual cruise known to history. 


S = . ’ 
i a RTT TRIS OTR EES 
ND) NN 

WAN sees Wii 


ate: Es 


t a. EER : 


Yi 

WY f ZAM ( 
NVA A 
PPI ULI 


rea Oa TRE TERTINS = 


THE STOWAWAYS’ 


FOURTH ANNUAL CRUISE 


will take place on Saturday, August 25th, 1923 


Skipper Wolf will take us for a sai] in his well known sloop THE 
WHITE MULE over the waters of the GREAT SOUTH BAY. 
Other vessels. may be on hand depending on the number of accep- 
tances sent in. Those who think they can keep wind in the sails will 
be permitted to demonstrate at the tiller. 





No subject is too old to adapt if given an individual touch 


[15 ] 


THE BOOK OF ENTERTAINMENTS 





Now ideas occasionally spring into being, palpitant and 
fully clothed, but more frequently they are the result of 
mental toil, not to say anguish. That one achieves an idea 
and another does not is not because one is more clever, but 
rather because one is willing to concentrate, discard, and 
keep on groping till out of inchoate material a working 
basis for something tangible is achieved. Few there are who 
can merely delve into dark brain recesses and bring forth 
ideas. These are relative things. Every brand new inven- 
tion is really the outgrowth of another. It is only by alert 
attention to what is going on, a careful perusal of news- 
papers, books and plays, that up to date material can be 
obtained for remodelling and individualizing. In this, as 
in everything else, it is the personal touch that counts. 

Indeed, an idea does not have to be altogether original 
if it is given a personal touch. Take, for instance, the 
circus. This is a theme of long standing, but all sorts of 
things can be done with it for a basis. ‘To begin with, the 
motif has universal appeal because everybody likes a circus. 
The atmosphere is full of color, gaiety and a certain mys- 
tery. Nobody has to search the library to learn how to 
make a clown’s costume or a snake charmer’s skirt. These 
indelible impressions are as much a part of us as the color 
of mother’s eyes or the pendant on father’s watch fob. 
About this well known theme may be built a costume party, 
a society circus and a dozen other schemes for entertain- 
ment and money making—a state of affairs bearing out 
George Ade’s statement, “‘Get a good makeup and the 
part plays itself,” or, in other words, the tempo of an 
occasion may be set by the general scheme of decorations, 
costumes and the like. | 

Again, take Mother Goose. At least two hundred differ- 
ent kind of parties can be evolved from this one familiar 
theme. Constance Mackaye goes so far as to point out 
that this theme can even be used by labor unions for an 


[ 16 ] 


THE IMPORTANCE OF AN IDEA 





annual parade, when the shoemakers may be represented 
by the old woman who lived in the shoe, the musicians’ 
guild by Old King Cole and his fiddlers three, and so on. 
All the old fairy stories are full of colorful suggestions, 
from Aladdin to the tale of Little Red Riding Hood. 
What could be more amusing than a party where all the 
guests were asked to come as either Red Riding Hoods, 
grandmothers, wood choppers or wolves? ‘Tennyson, 
Yeats, Thackeray, Dickens are full of suggestions. Well 
known pictures offer possibilities for burlesque. The daily 
cartoons and funny sheets, also, suggest other ideas in the 
way of character work. | 

Timely ideas are always desirable, but they should be 
selected with discretion because a suggestion, however good 
today, may be passé tomorrow. During the Carnarvon 
excavation in Egypt all the theatrical producers were put- 
ting on King Tut scenes, parties were Egyptian in flavor, 
and even advertisements were Tuttish. ‘The first few who 
utilized the idea as a basis for dances and costumes made a 
hit, but the scheme was soon done to death and went out of 
fashion quickly. 
_ The seasons and calendar are always reliable sources on 
which to hang entertainments. Halloween, for example, 
may be brought up to date by being Conan Doyled. A 
George Washington’s birthday party may be given a new 
angle by holding a gathering of the Greatest Liars In His- 
tory. Even a Christmas party may be had at any season 
of the year, by providing Santa Claus with a family and 
assigning one as the patron saint of each month. Septie 
Claus in the gorgeous leaf hues of September or Julie 
Claus with midsummer tiger lilies would grace any function. 
Perhaps this is far fetched, but it is just such little twists 
that count and cause guests to go away murmuring, ‘‘Such 
‘a novel idea,” ‘“‘Rather unusual, wasn’t it?” 
In order to plan a social time for any particular month 


[17 ] 


THE BOOK OF ENTERTAINMENTS 





or day, the question should be asked, ‘“‘How many things 
does this month or day suggest?’ March, for example, 
brings to mind wind, a lion, a lamb, the March hare, and 
St. Patrick’s day. St. Patrick’s day recalls shamrocks, 
snakes, emerald green and the Irish. ‘The Irish suggest 
the blarney stone, folk dances, queer tales, pipes, potatoes, 
pigs, kind hearts, funny stories and beautiful songs. With 
these suggestions anyone can work out a social féte for 
March. Indeed, a whole party may be built about the 
blarney stone alone. 

As has been written, there is nothing new under the 
sun; and if there were, the public would prefer a familiar 
idea revamped rather than a startling innovation. People 
in general do not adjust themselves quickly to ideas too 
radical. ‘The natural instinct in regard to unfamiliar ways 
is to criticise. However, this should not cause the relin- 
quishing of any really sensational plan, for the public needs 
startling now and then. 

Ideas depend largely for their success upon the people 
or community employing them. It is a mistake to assume 
that because a certain kind of a party was a knock-out in 
Paris it will register equally well in Mineola. Nothing 
should ever be transported from one locale to another with- 
out being subjected to adaptation. People’s sense of the 
fitness of things varies with study, travel and worldly con- 
tact. A band of artists may watch a semi-nude dancing 
girl with composure and with no thought of the exhibition 
being indecent or vulgar whereas the same number would 
be an undying scandal in a missionary society, for instance. 
In short, an idea must not only have a human interest 
quality, be fascinating or novel, but it must also be adapted 
to the particular occasion which called for it. A picnic 
may be enjoyable for children, but should be taboo for 
octogenarians who are apt to be rheumatic. 

The locale of an affair often constitutes an idea in itself, 


[ 18 ] 


THE IMPORTANCE OF AN IDEA 





such as a dinner on an anchored ship or in a moving picture 
studio or on a light house stair or in a jail. ‘There is 
scarcely an idea which will not show improvement when 
furnished with thrills. Take a travel lecture, for instance. 
This may sound unalluring, but if the function is given 
a drawing name, the house or club arranged with booths 
or scenes to represent certain lands or states, a lecturer 
placed in each setting and told to talk to the tourist groups 
brought up by guides while costumed damsels serve food 
indigenous to the region, and ticket agents sell round trip 
strips for all the countries at the door, the effect is entirely 
different from sitting in a theatre chair listening to the 
usual explained lantern slides. 

The name of a party is of tremendous importance. It 
should be descriptive and curiosity provoking, but care 
should be taken that anticipations should not be aroused 
which cannot be met. It is better to give people more 
than they expect than to lure them by false hopes or 
promises. A title subtly makes a picture. When one says 
‘The Business Women’s Ball,” the picture conveyed to the 
general public is of a crowd of women in horn spectacles 
_and tailored suits sitting behind a smoke barrage. Business 
women may have ravishing gowns, expensive rouge, dance 
like pandemonium, and carry enough quips to entertain for 
a week, but unless their charms are capitalized by a name 
that draws, the public will not visualize a gay and colorful 
ball. 

A title should be one that connotes gorgeous costumes, 
beautiful women, restful lounging places, soft music, cool 
drinks, daintily served food, rich drapery and yet a certain 
freedom indispensable from a good time. 

It is not enough to collect a crowd of men and women 
and instruct them to have a good time. There must be an 
amusing and colorful scheme, a surprise, a touch of origi- 
nality about the affair. When the stage is properly set, the 


[19 ] 


THE BOOK OF ENTERTAINMENTS 





actors will enter and make their own good time, but the 
committee which is too lacking in imagination, energy and 
resource to plan a background for its functions is stamping 
itself as inefficient. 

Grownups are like children. They know perfectly well 
that they are being offered stick candy with a lemon flavor, 
but it helps indescribably if the candy is given a new kind 
of stripe and is put up in an attractive wrapper. It is not 
true that a dance is just a dance. It is the idea behind 
the dance that counts. ‘The idea is seldom new, but there 
is no excuse for its not being individualized. 


[ 20 ] 


CHAPTER III 
MAKING ARRANGEMENTS 


To insure success in any undertaking there must be 
management. ‘The business details of any entertainment, 
to which an admission fee is charged, should be carefully 
planned in advance to forestall financial loss, while the 
_ possibility of poor attendance is discounted by getting things 
under way in time to allow for proper publicity. 

Deciding upon the date and engaging the place where the 
event is to be held are the first details to consider. Since 
strong rival attractions may be booked for the same eve- 
ning, before plans are definitely settled it is advisable to 
check up with other social activities and especially with 
organizations whose affairs are attended by members of the 
same group. Ina small community it is not difficult to find 
out what is on the social calendar. The local newspaper, 
hotels, clubs and managers of assembly rooms will give 
this information. In a large city, where there are many 
attractions, it is possible to consider only those special 
groups whose plans would conflict. 

Also, before the date can be definitely fixed there must 
be an interview with the manager of the hotel, theatre or 
assembly rooms where the event is to be held. Popular 
places are often dated up weeks or even months in advance, 
especially on the favored evening, Friday. Until this 
arrangement is consummated, such details as printing, en- 
gaging music, publicity and other arrangements cannot be 
carried forward. In fact, it is well to make the engagement 
and let the date be known as far in advance of an event as 


[ 21 ] 


THE BOOK OF ENTERTAINMENTS 





possible. Everyone who has ever served on an entertainment 
committee is familiar with that insistent and eternal ques- 
tion: ‘‘When is the so-and-so coming off this year?” 

If the entertainment is to be held in the club’s own 
headquarters the duties of the committee are greatly sim- 
plified, in which case it is merely a matter of informing and 
consulting with the house committee, manager or steward. 
If finding a suitable place elsewhere is a problem for the 
committee it is well to investigate all opportunities. 

Inatown or small city the suitable locale for large gather- 
ings may be arbitrary. In a large city, where there are 
many desirable places, it becomes a question of which offers 
the best terms, inducements and accommodations. Sometimes 
atmosphere and tradition are to be preferred to new gor- 
geousness. Not only may more advantageous terms and 
concessions be obtained, but if elaborate decorations are 
planned the same restrictions may not be encountered in 
an older place as in a new one, where even a tack in the 
wall might be prohibited. 


Contracts and Agreements 


Before any agreement is signed with the management, 
every contingency should be considered and provided for. 
It is necessary to find out what items, if any, are to be 
extra charges besides the price per plate for dinner or other 
refreshments. Usually there is a rental charge for the 
use of ball rooms; this not being included in the catering 
cost, as many committees later find to their surprise. 

If there are to be decorations it should be stipulated how 
far in advance the use of the rooms may be obtained, or, 
if there is to be a theatrical performance, if a dress re- 
hearsal may be held. All specifications should be made 
regarding platform, stage or elevation, lighting fixtures, 
spot lights, arrangements of tables or whatever the specific 


[ 22 ] 


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MAKING ARRANGEMENTS 





needs may be. The committee can protect itself from 
misunderstandings by having the agreement expressly state 
that nothing, not expressed in the contract, shall be charged 
for, unless provided for in written supplemental agreements. 

An example of an unexpected charge was met by a club 
which was giving a dinner followed by a theatrical per- 
formance. After the contract was signed with the hotel 
management, the question came up of how long it would 
take to clear away the tables, that the wait might be made 
as short as possible. In this particular instance it was 
important to have this accomplished with speed. ‘The 
manager informed the chairman that an extra charge of 
$100 would have to be made. ‘This was obviously a hold- 
up, but the chairman was helpless for the contract was 
signed and the tables had to be cleared in twenty minutes or 
imperil the success of the evening. Doubtless, had this 
point been taken up while affable negotiations and conces- 
sions were being made, it would not have been considered 
an opportunity for an extra charge. 

Fortunately the above instance is not typical of all man- 
agers, but is quoted to indicate the sort of complications 
that may arise. Usually the management of a hotel is 
found to be obliging and willing to grant many concessions. 
The manager’s co-operation and enthusiasm may be enlisted 
in the same degree that the committee shows itself willing 
to co-operate and consider the hotel problems. 

The management of a theatre, in accepting a proposed 
contract, agrees to comply with all regulations imposed 
by municipal, state and federal governments, covering the 
use of theatres, halls and assembly rooms, and to hold 
blameless and without responsibility the contracting party 
for failures, omissions, violations of laws, acts and ordi- 
nances affecting operation, safety and sanitation. This ora 
similar protection clause should be included in contract 
agreement with owners or lessees of the place where an 


( [ 23 ] 


THE BOOK OF ENTERTAINMENTS 





event is to be held. Also, the number of stage hands 
should be specified in agreements, as otherwise there may 
be insufficient help to work the stage, or extra men em- 
ployed for which an extra charge, not anticipated, is made. 


Estimating Attendance 


While optimistic hopes may figure on an attendance of 
500 persons, the guarantee given the caterer should be 
below this figure, otherwise a large sum may be lost. As 
the ticket sale increases beyond the guaranteed number, 
the manager should be notified. ‘This consideration will 
be appreciated. The approximate number of guests should 
be estimated the day before. On the morning of the 
party, as early as possible, this should be verified. Of 
course a margin must be made for late comers. No matter 
how strict the ruling that ‘“‘no tickets will be sold at the 
door’”’ it is generally impossible to enforce it to the letter. 
When a member blandly presents himself with no previous 
notice given, he can hardly be refused admittance. An- 
other member, who bought tickets in advance, as all con- 
siderate members do, finds himself with an unexpected 
guest, who must be brought along to the party. The 
attendance is perhaps far beyond the estimate of the morn- 
ing, but the management rises cheerfully and grandly to 
the occasion, assures the worried chairman all will be pro- 
vided for—and miraculously they are. 

It is a far happier circumstance for the attendance to 
go over the guarantee than below it—when the bill has to 
be paid! Another item not to be forgotten is the question 
of tips. This may be taken up with the manager who will 
give a fair estimate of what the amount should be. A 
wise committee tips where tipping should be done, since 
the result is reflected in the attitude of the humblest em- 
ployee. In this way is avoided the passing of plates among 
the guests by waiters soliciting tips. 


[ 24 ] 


MAKING ARRANGEMENTS 





With the date settled and the place engaged, the com- 
mittee draws a sigh of relief. But no matter how delight- 
fully remote a day may seem to be, it is well not to be 
deceived into thinking there is plenty of time before start- 
ing other arrangements. There is never time enough for 
anything. Any future date has a trick of slipping up 
stealthily, like Christmas. No one ever expects Christmas 
to happen as soon as it does every year and there is always 
the same scramble at the last moment to get the “merry 
greetings’ in the mail. 


Pricing Tickets 


Printing, such as announcements, posters and _ tickets 
should be started immediately after the date and the place 
are definitely settled. ‘This makes it necessary to fix the 
price of tickets. Above the caterer’s charge for each 
person a margin must be allowed to cover such items as 
rent of ballrooms, music, printing, postage, decorations, 
tips, or whatever expense the proposed plans call for, as 
well as possible Federal tax on the tickets. ‘There are 
usually a number of small incidental expenses which cannot 
be estimated but which should be anticipated in a lump 
allowance. Also, the number of tickets to be sold enters 
into the calculations. 

It is a mistake to price tickets higher than the usual 
charge for such affairs in the locality in which the event 
occurs. It is better to trim plans to fit the popular price 
than to overcharge to fit an elaborate scheme. By keeping 
projects modest at the start, more ambitious features may 
be added as the sale of tickets or interest in the event 
warrants. 

There is a psychological reaction to certain sums, and 
$5.50 is a popular city price for a costume dance including 


supper. This is as readily paid as would be $4.50 or $5. 
[ 25 ] 


THE BOOK OF ENTERTAINMENTS 





Most people consider $4.50 as ‘‘practically five dollars.” 
On the other hand, $5.50 is still regarded as $5. For 
two tickets the mind registers $10. But if the price is 
$6 or $7 per ticket, immediately there is a mental picture 
of the important sum of $15. 

Fifty cents tacked on to the even dollar is rarely noticed, 
and this often is the margin between loss, breaking even or 
a profit. Odd cents may represent the federal tax. ‘This 
last point should always be considered in ticket pricing. 
In the case of a benefit for a worthy cause, or if the affair 
is of, or for, an educational purpose, this tax may be 
exempted. It is necessary to make application in such cases, 
to the Bureau of Federal Taxes, Collector of Internal 
Revenue, at least two weeks prior to the event. 

When a party is limited to club members and their guests 
it is advisable to have the price of the ticket include supper. 
The most popular reason for the blanket ticket is that 
it does away with the presentation of restaurant checks, 
always an annoying delay, and moreover it eliminates the 
possibility of one man paying for a large group as usually 
happens. In the awkward moment when a check is pre- 
sented, every man reaches for it with a more or less 
insistent, ‘“Fiere—let me have that!” It seems the only 
thing to do, whether one can afford to pay for eight or 
ten casual people, who were perhaps thrown together at 
the supper hour, and not otherwise one’s guests for the 
evening. This has occurred so frequently that many persons 
remain away from affairs because they fear this situation. 
When the ticket price includes everything, an evening’s ex- 
penses may be computed in advance and security afforded 
from ill-afforded hospitality. 


Controlling Expenses 


No important expenditures should be made or contracted 
for without first getting the approval of the organization’s 


[ 26 ] 


MAKING ARRANGEMENTS 





treasurer. The chairman of the committee should allow 
no one to make any financial commitments without his 
sanction, otherwise there are bound to be some unpleasant 
surprises. Prices for all important expenditures should be 
obtained in writing to avoid future misunderstandings. 
Receipted bills should be secured for all purchases made 
with advanced expense money. 

Gift horses should be looked in the mouth, despite the 
polite sounding adage. Apparent donations often prove 
expensive and embarrassing. In the enthusiasm of a meet- 
ing some member may volunteer to provide a certain thing. 
The circumstances and wording of the offer may give the 
distinct impression to everyone present that it is to be a 
gift, whereas he merely undertakes to attend to this detail, 
doubtless in his own line, thinking he is saving some one 
trouble. There should be a definite understanding and 
nothing taken for granted when someone says; ““Why—l 
can get all of that you can use!” It may be intended as 
a gift and again it may not. Such instances frequently 
occur in various forms, are enthusiastically accepted as 
“something for nothing”’ and later bills come in that may 
be in excess of what this item could have been purchased 
for by the committee. The motive of such offers is not 
mercenary but is intended to be helpful, yet this sort of 
ambiguous overture has caused many awkward situations, 
because no one had the courage in the face of an apparently 
generous impulse to inquire bluntly, ““Do you mean this 
won't cost anything?” 

In connection with keeping a close watch of finances, 
discretion must continue to be used at the fatal moment 
when there is prospect of a profit over expenses. If all 
has gone well and the number of the guarantee to the 
caterer has been reached and the amount of the overhead 
expense assured, extravagant and imaginative members 
begin to invent ways to spend money. ‘‘Now, we can get 


[27 ] 


THE BOOK OF ENTERTAINMENTS 








so-and-so!”? they beam. ‘“‘Oh, we really must have this- 
and-that! We've got the money. Everybody is talking 
about this affair and we must put it over in a big way!” 

If enthusiasts are allowed to go ahead recklessly at this 
stage, the benefit of careful planning and previous saving is 
swept away. If the event has been well planned in the begin- 
ning, last-moment extravagance is not required to put 
it over. It is a mistake to go on the theory that a large 
sum of money must be spent to make an affair a success, 
whereas with ingenuity and originality a more interesting 
and enjoyable party may be evolved for half the cost. 
Often the most expensive details tacked on at the last 
moment are never noticed or appreciated, until they loom 
up at the next business meeting in the treasurer's report as 
“Old Deficit.” While a social gathering held by a club 
may not be designed or intended to realize a profit, yet 
it is much more pleasant to announce one than to try to 
explain a loss. 

All bills connected with the undertaking should be gath- 
ered in as soon after the event as possible. Every item 
should be checked up and if correct, O. K-ed by the chair- 
man and sent immediately to the treasurer to be paid. 
A strict account must be kept of all money for tickets © 
turned in to the treasurer, in case of possible errors that 
might otherwise be difficult to trace. 


Engaging Music 


One of the important features in the success of a dance 
is, of course, the music. Nothing calls forth so much criti- 
cism if too great economy has been practiced in this di- 
rection. But while the number of the attendance is in 
doubt it is not necessary to engage as many men for a 
small gathering as for a larger one. In the former case, 
everybody might be on the floor at once without over- 


[ 28 ] 


MAKING ARRANGEMENTS 





crowding, as is usually the case when there are short inter- 
vals between dances. For a large crowd the music should 
be continuous, which necessitates engaging extra musicians, 
or another orchestra. 

When making the arrangement for music there must be 
an understanding of just how long the musicians will play 
for the amount specified. This is important as there is 
a high overtime rate. 

“Oh, play another hour!” one inexperienced chairman 
‘casually instructed the orchestra leader, about 4 o’clock in 
the morning when the musicians were preparing to depart, 
and a protest arose because the party was over ‘“‘so early.” 
That extra hour cost almost as much as the music for the 
entire evening up to that time. 

There is one way of getting around this impasse be- 
tween the insatiable dancers and musicians. The chairman 
cannot authorize the continuation of the music without 
being committed to the regulation over-time charge. How- 
ever, if a group of indefatigable dancers desires to continue 
the party, after it is officially over, it is often possible 
to deal informally (and inexpensively) with musicians 
by taking up a collection. Usually this small, but neat sum 
is accepted—and everybody is satisfied. But the chairman 
must have it understood with the leader that no extra 
charge is to be made and that, as far as the club’s responsi- 
bility is concerned, ‘‘Home, Sweet Home’”’ may be played. 


Licenses, Permits and Fire Laws 


While everybody knows that it is necessary to get a 
license to be married, to keep a dog or to run an automo- 
bile, it comes as a shock to the uninitiated that such a 
document may be required for certain types of social 
events. A costume party or bazaar or any form of benefit 
comes under this ruling in large cities and possibly in 


[ 29 | 


THE BOOK OF ENTERTAINMENTS 





smaller towns. At least, in making arrangements, the local 
ordinances concerning such matters must be investigated. 
Applications for such licenses and permits as may be re- 
quired must be made at least two weeks in advance of the 
occasion. With no uniform laws governing these things 
and with each municipality having its own regulations, 
no specific information can be given, other than to say 
that if there are such laws they must be considered. 

In one of the largest cities it is imperative to secure a 
license and a police permit to hold a costume dance to 
which tickets are sold, even though the affair is limited 
to members and their friends. ‘The license costs $2 and 
the permit ranges from $25 to $100. Hotels and dance 
halls are listed as first, second, third and fourth class, ac- 
cording to capacity, the charge being made on the rating 
of the place. It is amusing to find that in police rulings 
all costume events are listed as “‘Masquerade Balls.” No 
distinction is made between a “‘masked”’ affair, which is 
evidently held in some disrepute, and a simple open-faced 
““costume’’ dance. 

However, since each locality has its own naive restric- 
tions, one of the first duties of the chairman of an enter- 
tainment committee is to go to the Bureau of Licenses 
and the Police Headquarters and find out just what is 
required and conform gracefully and financially to what 
may seem to be absurd regulations. As a matter of fact 
these laws were not designed to fit such a perfectly in- 
nocent and legitimate case as the chairman represents, but 
to protect society at large from fake benefits and objectional 
enterprises. | 

In the matter of fire laws much the same situation exists. 
Like permits, fire laws are a matter of geography. In 
congested cities these are more exacting. In undertaking 
decorations of an inflammable nature every precaution 
should, of course, be taken. It is disconcerting, to say the 


[ 80 ] 


MAKING ARRANGEMENTS 





least, to put up expensive decorations and just as the party 
is commencing to have them ordered taken down by 
a fire inspector. The manager of the place can give ad- 
vance information of just what is allowed and whether 
fire-proofing is required. Fabrics may be fire-proofed by 
an applied preparation or may be done by professionals 
who make a business of this work. 

If motion pictures are to be shown in public halls permits 
‘are frequently required, and usually a calamined box 
‘enclosing the projector and operator. Such boxes are 
usually obtainable locally and many exhibition places and 
public assembly rooms have such equipment. 


Employing Private Detectives 


——————S 


: It is customary to employ private detectives for large 
gatherings in cities. This is insurance against the unex- 
pected, and in any event is not an expensive luxury, as the 
‘charge is usually about ten dollars for one man. Two are 
enough for a gathering of 600 guests. The detective quietly 
straightens out small unpleasantnesses that may arise, with- 
out making it necessary to call a policeman, which would put 
11 blight on a party and a more serious aspect on what 
might be a trivial episode. The noisy gentleman, (one 
‘n 600 is not a high average) is quietly taken to a cab and 
shipped home, relieving the floor committee of the em- 
Jarrassment of disciplining an acquaintance, which brings 
2 personal element into the situation that is absent in the 
‘tase of the detective. 

| Often these Sherlocks are almost too vigilant and rush 
0 the chairman with all sorts of suspicions, usually un- 
ounded. Noticing trifles was what made Sherlock Holmes 
great, of course. Should a real emergency arise where 
hese men are needed it is well worth the occasional false 
larms they report during an evening. By all means there 


[ 31 | 






THE BOOK OF ENTERTAINMENTS 


en SS 
bea AEA STI DAD SEER SE TO OSE a SN SU SON TTI ON STO ame pa ey ee on TL SPS 


should be at least one present at all semi-public, as well 
as large private affairs. In spite of all precautions some 
objectionable person may gain entrance and then Mr. 
Detective is invaluable. The intruder is quietly eliminated 
and no arrest is made which would be recorded at police 
headquarters. 

In answering the questionnaire in applying for a license, 
one of the queries is; ‘“‘Has an arrest ever been made at 
any previous affair given by your organization?” 


Invitation List 


If the invitation list is to be restricted to members 
of an association, the announcements may be sent out by 
the secretary. But it is a wise committee which attends 
to this detail, if the secretary is the over-worked person 
that club secretaries usually are. In one evening the mem- 
bers of a committee could address, seal and stamp a 
thousand envelopes. Left to the secretary this task would 
be turned over to a stenographer to do in odd moments 
which might entail a delay of several days, when advance 
notice is priceless to the success of the function. 

If persons outside of the society are to be allowed to 
buy tickets (by invitation) the entertainment committee 
should make up this list. These selected names may be 
secured from several sources; friends of members, other 
club lists of a similar character or interests, and prominent 
persons in the locality. Almost every organization has 
a group of what might be called “party members,” who 
always buy tickets and attend festivities. ‘These friendly 
“outsiders” are often good material for future membership 
and should be encouraged. Sometimes it is the “party 
members” who save the day when large affairs are planned 
which are not supported by members to the extent antici- 


pated. 
[ 82 ] 


MAKING ARRANGEMENTS 





“Letting in outsiders’ is often a mooted question. ‘The 
very members who protest loudest against dropping the 
bars at all, are perhaps the ones who fail to buy even one 
ticket and who stay away through indifference—or the 
innumerable excuses that invariably keep a certain per- 
centage away from the activities of their own club. A 
carefully selected list is therefore a safeguard against a 
disappointing attendance, while on the other hand a pro- 
miscuous sale of tickets may be fatal. | 

The sale of tickets should begin the day the announce- 
ments are out. Those responsible for the ticket sale should 
dispose of as many as possible immediately. Every ticket 
sold in advance helps the sale of others. One person 
will be inspired with desire to attend because another 
person is going. Everyone who actually buys a ticket 
immediately becomes a booster for success. 

There usually comes a dark period in the preparations, 
when the entertainment committee is prone to believe that 
no one in the entire organization is interested in the affair 
anyway—that it was all a mistake and is doomed to failure 
from lack of co-operation and patronage. Criticisms now fly 
freely about the date, the place and any details which may 
be known or imagined. Certain prominent members are 
sailing for Europe on the fourteenth. ‘The Bilkinsons, who 
were important to the evening’s program, have the ’flu. The 
Thompsons, who had planned to bring a party of twenty, 
return the tickets because a cousin died in Australia. ‘The 
only thing of which the discouraged promoters may be 
sure at this point, is the financial obligations which have 
been contracted. 

Tickets begin to sell more briskly, however, within the 
next few days and each day sees a substantial increase 
towards the margin of safety. There are various ways 
of stimulating a sluggish sale. A post-card reminder a 
few days before the event brings results from procrastina- 


[ 33 ] 


THE BOOK OF ENTERTAINMENTS 





tors. ‘Telephone calls often decide hesitating members to 
go, others who have forgotten all about it are grateful for 
the reminder and send in their checks. And always there are 
those persons, who, in spite of many announcements and 
much publicity, are under the impression that the party was 
“next Friday night instead of this Friday!” 

For rounding up members, who will be interested in 
attending the affair and who have not already made res- 
ervation as the time draws close, the record of ticket 
buyers, mentioned elsewhere, is valuable. The names of 
purchasers should be checked against the names of the in- 
vitation list. 

Each form of entertainment has its own peculiarities and 
problems. ‘Taking inventory of what they may be and 
preparing to meet them in advance avoids complications. 
Nothing should be left to chance. 





[ 34] 


CHAPTER IV 
PLANNING THE PRINTING 


If the public is to be interested and made to respond, 
invitations need to be followed up by subsequent notices. 
This appeal can best be expressed in print, and so printing 
becomes a very important part of the plan. Not only 
must the message be intriguing, but the form of presenta- 
tion of the message is equally important. 

Committees of arrangements, even when extravagantly 
inclined, are tempted to economize on printing. Someone 
suggests a little printing shop in a basement where the cost 
is ‘next to nothing.’’ While the “next to nothing”’ print- 
ing bill may look demurely modest on the expense account 
—it may loom large in the total it subtracts from the 
_ receipts. 

Nothing helps the success of any affair like attractive 
announcements. The engraved invitations, now used only 
for weddings and very formal functions, were at least 
non-committal. But, since almost circus methods must be 
used these days to attract patronage to an event, the printed 
matter must appeal to the eye, hold attention and stir the 
imagination. ‘he desire to attend must be aroused by the 
typographical messenger, or the job is indeed worth “‘next 
to nothing.” 

In short, the psychological effect of cheap, sloppy, poorly 
composed print on cheap paper is obvious. The cost of 
distributing printed messages, the cash investment in post- 
age stamps, is fixed, and the printing should have a com- 
parable value with the cost of the postage. 


[ 35 ] 


THE BOOK OF ENTERTAINMENTS 





The committee having decided that good printing is 
imperative for the success of the enterprise, may now con- 
sider ‘how cheap.” Estimates may be obtained from at 














Woodcut by C. B. Falls 
A poster should appeal to the eye and stir imagination 


[ 36 ] 


PLANNING THE PRINTING 





least three reputable printers, based upon the same speci- 
fications, that the comparisons may be honestly and fairly 
made. It is well to invite suggestions from printers. Un- 
derstanding of just what paper stock, how many colors of 
ink, and quantity should be written in a firm estimate. 

In most organizations there is usually a member who 
is in the printing business. This friendly person no doubt 
would give valuable suggestions and a low price, and have 
pride in doing a splendid job. It can only be embarrassing 
for members of a committee responsible for a poor print- 
ing job to find later that expert help was available within 
the membership of the organization. 

The basis of fine printing is the paper itself, and a job 
that begins with an interesting sheet of paper never wholly 
loses its character, or fails in making good, no matter how 
unintelligent may be the type composition, and how un- 
skilled the press work. A good start is made with the 
selection of a fine paper. Often it is the smallest item 
entering into the cost. 

There are all sorts of unusual and beautiful papers man- 
ufactured in this country or imported from Europe and 
Japan. It is not necessary to be content with, or accept 
any paper stock that may be on hand. ‘The printer can 
obtain unusual texture and colored papers, and without 
delay, because the creative parts of printing may be under 
way while the paper is being brought in, and for a thousand 
sizeable posters the extra cost for paper won’t be more than 
ten dollars. Everyone appreciates beautiful and interest- 
ing papers, and announcements printed on such are not 
tossed indifferently into the waste basket. 

It has been proven by those experienced in sending out 
notices for social events that it is essential to send a ‘‘first 
announcement”’ at least three or four weeks in advance— 
otherwise there are many complaints of the shortness of 
the notice and a plea of other dates. Safe practice is to 


[ 87 ] 


THE BOOK OF ENTERTAINMENTS 





send out first a neat card, or postal, announcing the event, 
a warning to save the date, naming the place of holding, 


COMB AND DANCE WITH YOUR FAVORITE SHEIK 


i =, 
DANCING «TILL THE SANDS OF THE DESERT GROW COLD” 


DESERT DANCE 
ANNUAL COSTUME PARTY of the 


SOCIETY OF ILLUSTRATORS 


FRIDAY EVENING, JANUARY LOTH, 1923 
eAt DetmMonico’s 


For this Near-Cruise to the Orient-BOOK EARLY. Otganize your party now. 
Make reservations without delay. This Party is limited to members of the Society 
of Illustrators and their guests. (Bedouins and Beggars, Sultans and Sheiks, Turks 
and Traders; Rug Venders, Desert Women. and Dancing Girls of Tunis and 
Algiers, Camels, Cook’s Tourists, etc.) 


ROUND TRIP TICKET, which includes Supper, $5.50 


Méil your checks to Society of Ittustrators, Art Center, 65 East §6TH STREET 





This second announcement was printed on watermelon pink paper 


[ 38 ] | 


PLANNING THE PRINTING 





the price and advising where tickets may be purchased. 
There should be a statement that further details will follow. 

The real invitation should be sent two or three weeks 
before the event. This is the “‘clincher’’ and the one that 
stirs the reader’s imagination, building a previous inter- 
est into desire to be among those present. It is the big 
urge that marks an occasion with premise of success. The 
advance notice did its part, but the major effort topples 
the tree. The second message may be of any size, but the 
one that is a poster in effect is advised. One example that 
is impressively large, including an illustration and large 
readable display type is shown in small reproduction. The 
original was printed on watermelon pink paper. 

Every detail should be plainly stated on this second 
announcement to avoid possible confusion or misunder- 
standing. Then, without giving away all the “‘stunts” or 
news and features of an affair, interest-piquing hints should 
be included. The announcement should never promise 
more than can be made good in performance. The text 
should be clever and humorous, rather than formal. The 
reader is quick to fasten upon a twist of words, or luring 
fact, and then build desire to attend in his own imagination. 

Announcements should be illustrated, if possible. II- 
lustrations for rough paper should be black and white, or 
line drawings, engraved on zinc, and comparatively inex- 
pensive to reproduce. Almost any artist, whatever his 


‘regular medium, can make a simple pen and ink sketch. 


If wood engraving or linoleum illustration is available, so 
much the better. Wash drawings, or photographs can be 
reproduced by the half tone engraving process, which is 
more expensive and limits the announcements to printing 
on coated papers which are never so interesting. 

If the number of announcements is not great, a clever 


' photograph may often be used, with duplicate photographic 


| 


prints “‘tipped on” to the printed poster. In such cases 


[ 89 ] 


THE BOOK OF ENTERTAINMENTS 





rubber cement, obtainable from tire dealers, is a reliable 
adhesive, and the applied pieces remain flat and do not 
curl. 

Certain laws of optics, areas, proportion and color are 
combined in the art of printing. ‘There are not so many 
of these laws but what they can be absorbed by any infre- 
quent buyer of printing. ‘hey cannot be ignored without 





PHYSICAL CENTER OPTICAL CENTER. 


hurt, and when employed a finer and more successful print- © 
ing product results. It is considered in the laws governing 
areas that the proportion ‘‘4”’ across, or wide, by ‘‘7” deep, 
or high, is most pleasing. Painters term it the “golden 
oblong” or “golden section.” The page may be 2 inches — 
by 3% inches, or 8 inches by 14 inches, or any other com- 
bination. ‘The proportion should remain the same. 

Of optical science only a few facts need be borrowed. 


[ 40 ] 


PLANNING THE PRINTING 





Upper and lower case letters are easier read than words 
made of capital letters. Most difficult of all to read is 
a long line of script lettering. The eye sees a certain length 
of line—so many letters or words at a glance. ‘These are 
“eye fixatives’” or eye bites. ‘The length of fixatives varies 
with the size of type. Thus, the reader may accept two 
inches of ordinary reading type in an eye bite, and read 
a 40 foot sign’s large ‘‘box car letters”’ in a single glance. 
Also, from optics it is learned that the “optical center”’ 
is above the “‘physical center’ of a page. This law cannot 





OPTICAL CENTER. TOP HEAVY BOTTOM HEAVY 


be avoided if the printed message is to be well composed. 
“Physical center’ and “optical center” are previously 
shown on Page 40. 

The weight of design, the heavily displayed portions, 
should come above the optical center to be most effective, 
though ‘‘bottom heavy”’ designs are also frequently strong. 

A simple and reliable way to lay out a page is first to 
find the optical center (slightly raising the physical center) 
and then draw a light vertical line in hard pencil through 
the center of the page. Display lines of type, and lines 
devoted to less important but necessary details, may then 


[ 41 ] 


THE BOOK OF ENTERTAINMENTS 





be composed. A page may be ‘“‘top heavy”’ when the bulk 
of text display weight is above the focal center, or ‘bottom 
heavy’ when the larger mass is below the focal center. 

It should be borne in mind that the spirit of a printed 
page should be news. Even the most astounding news 
needs to be displayed with headlines in newspapers, and 


HEARTSTONE 
CLUB 







& 


| 





CONTINUOUS 


rt SCUTTLE 
DANCING | 


the SHIP 





SHOWING ARRANGEMENT 
of LETTERING 


it follows that news features of affairs likewise need to 
be displayed. 

In the presentation of news of occasions, expressed in 
invitations to the public, it is best to follow what has come 
to be known as the “psychological order of selling sequence,” 
viz, 

1. Attraction. 

2. Arrested interest. 


[ 42 ] 


PLANNING THE PRINTING 





3. Subject. 

4, Subject defined. 

5. Proof or supporting argument. 
6. Action required of the reader. 
7. Command to action. 


A printed message designed to accomplish a purpose 
needs first to attract notice to itself. ‘This can be done 
with a screaming headline, an interest-piquing or humorous 
line, or with an attractive picture or cartoon. Having 
caught the reader’s attention, it needs to be held with a 
“teaser” or intriguing sentiment to hold fast and lead the 
reader into the subject. 

The subject needs some amplification and description, 
and these statements should be supported with proof or 
testimony. It serves no good purpose if the reader be 
carried thus far, interested but not yet stirring, if he is 
not told plainly what to do and how to do it. In leaving 
the reader a command should be registered that he or she 
respond. 

Announcements should be mailed in envelopes large 
enough to avoid too many folds of the printed message. 
The organization’s name and address should be included 
in a corner card in the upper left hand corner and perhaps 
a pleasing little drawing typical of the affair. 

It has been demonstrated that while the first two notices 
contain all the facts many persons seem to be ignorant 
of particulars and members of the committee are appealed 
to by telephone for information which has previously been 
given. This suggests the need for a final notice to include 
all pertinent information. 

One week before the occasion this final reminder should 
be mailed. ‘This may be an ordinary postal, containing 
the necessary and pertinent facts, or, it may be an amusing 
folder or card with cartoon, or some added details of the 


[ 43 ] 


THE BOOK OF ENTERTAINMENTS 


Lt, t S POSE TH ILLUSTRATORS 
ake ; LS 1S GETTING 


But, Allah be praised, there's still 
time to escape having the above trag- 
edy happen to you. 


Society of Illustrators Annual Costume Party 
se DESERT. DANCE 


at DELMONICO’S 


Friday Evening, January 19th (from 9 o'clock) 
Tickets $5.50 each 


Time is getting Limited so better act risk 

mailing checks from now on but call for 

tickets at the Art Center, 65 East $6th Street 

(Mf yours fe an emergency case~or fos taform- 
elephone W etkins &23 


SOCIETY of ILLUSTRATORS, Art Center, 65 East 56th St, New York 





The final reminder may be an amusing folder 
bearing a cartoon 


[ 44 ] 


PLANNING THE PRINTING 








_ party, designed to stimulate curiosity and revive a first 
interest. 

Three or four pieces of mail matter may not be neces« 
sary in all cases—but in a large city where events crowd 
thick and fast, the cost is justified. 

One organization which holds an annual ball attended 
by 500 to 600 persons has a mailing list of about 1,000 
selected names. There are many on the list who never 
attend these affairs, but who are friendly and in some way 
allied with the interests of the society. It is good publicity 
to send these attractive notices to the right people. While 
they may not attend themselves they are pleased to be 
remembered and will talk to others. This is especially true 
of older persons who may not attend a dance, but who take 
a friendly interest in it because they have received an 
invitation. 

All printed matter should be planned and under way as 
far in advance as possible. Printers do not like rush orders, 
and by taking time to put work through in the reguiar 
routine, advantage in price and quality is realized. 

The advertising expenditure for printing should be in 
direct ratio with complete success. If this effort is intelli- 
gently directed there are more chances for success than for 
failure. As a rule the embarrassment of failure is only 
suffered by those timid committees who have not the courage 
to think in terms of complete success. 

It is foolish to be afraid to spend money for good print- 
ing and for mailing announcements because of inexperience 
in advertising and the printing art. Money must be spent 
for announcements and the committee should get out the 
best things of which it is capable. ‘The only failure is— 
failure to act! 


[ 45 ] 


CHAPTER V 
PUBLICITY 


Publicity is a means of acquainting the world at large 
with the information that an organization or individual is 
in a flourishing state of health and activity. It is always 
desirable because advertised products are more respected 
than those which are not advertised, although the latter 
may be quite as meritorious. Publicity is necessary to the 
success of bazaars, lectures, exhibitions, concerts, amateur 
theatricals, dances and various social functions to which 
tickets are sold. 

There are many methods of advertising an event; news- 
paper accounts, or ‘‘stories’”’ as they are called, and news- 
paper advertisements, posters, bill boards, letters, window 
cards, sandwich men, the grape vine telegraph and signs 
on vehicles. Publicity is no simple matter and needs to be 
handled with common sense and tact. The chairman of 
publicity must be conscientious, alert, experienced and a 
person of judgment. It is just as important to know what 
not to print as it is to get hold of stories. | 

While little tales of spicy flavor are always popular, 
these are not always advantageous and must be quashed, 
since publicity of doubtful character is worse than none. 

The first duty of the publicity committee, therefore, is 
to impress upon the organization the necessity of sending 
all reporters to the chairman, who alone is empowered to 
release news. Such a measure helps to prevent the appear- 
ance in the press of silly statements emanating from some 
member, unfamiliar with club personnel and tradition. - 


[ 46 ] 


PUBLICITY 








De 4 Wea 


Sa 





Cover design of folder announcing an auction held by the Stowaway 
Society of New York 


[ 47 ] 


THE BOOK OF ENTERTAINMENTS 





The press work may well be turned over to some member 
who has a newspaper connection or experience or who can 
play melodiously upon a typewriter. 

When the first announcements or invitations are sent 
out, one of these accompanied by a story giving further 
interesting details about the affair should be sent to society, 
or city and Sunday editors of each newspaper, and if the 
affair is of a theatrical nature, of course to the dramatic 
editor. 

Every affair has salient features of news value that may 
be played up to advantage in securing space. A variety 
of stories should be prepared in advance, each containing 
the important facts, yet worded differently and each in- 
cluding exclusive bits of news, if possible, for variety. 
Some features or news should be held in reserve from the 
first announcements so that subsequent articles may be 
made that will have a news value. At short intervals news 
items should be sent out. Many of these contributions may 
not be used by all papers, but if there are plenty of 
amusing, newsy items supplied to the press, the chances 
are that a satisfactory percentage will appear. 

Short, snappy items full of news, with a generous sprink- 
ling of names—important names preferred—are regarded 
with more favor in editorial circles than long, wordy 
articles. The latter are usually dropped into the waste 
basket. ‘The seeker after publicity should play for fre- 
quent, short mentions, rather than for long notices. News- 
paper space is valuable and crowded. ‘The novice who 
imagines that editors are delighted to have lengthy, free 
contributions to “fill up space’? would be astonished to 
know that many times as much good material is thrown 
away every day as goes into the paper. 

Newspaper editing is a matter of selection from a great 
mass of dispatches and news items from all over the world 
and at home. Home news, if it be news, has an advantage 


[ 48 ] 


PUBLICITY 





in appreciation by readers, but news is elusive and once 
printed is no longer news. The gist of a story should be 
included in the opening sentence or paragraph, and for 
a reason other than its attention arresting quality, which is 
one of the first principles of a newspaper story. 

Perhaps the story has been set in type, when a big news 
sensation suddenly comes in, necessitating cutting matter 
of less importance, or eliminating entirely. A contribution 
that rambled lengthily, with scattered facts, might be 
thrown out, whereas, if the first paragraph or two were 
complete enough to stand alone, with the rest dropped off, 
the chances are it might be used. Moreover, there is al- 
ways a demand for short items for ‘“‘fillers.” 

The first article should confine itself to such facts as 
the character of the affair, the place where it is to be held, 
the date and the list of names of persons concerned; if a 
bazaar the names of the various committees, and if a 
theatrical performance names of those taking part. 

Following announcements should build up interest and 
curiosity without giving away too much, that there may 
not be a sacrifice of novelty and surprise for the actual 
occasion. ‘There are always plenty of suggestions for 
stories in any activity wherein many persons are concerned. 
The greatest possible care should be taken that all names 
are correctly spelled and that initials are accurately set 
down. This is a matter of the greatest importance because 
nothing so offends a person as to see his name in print 
misspelled or ‘“W. T. Jones” set down when it should be 
“W.C. Jones.” In a published list of committees or per- 
sons actively concerned in any way, care must be taken to 
include every name, not omitting anyone. 

Photographs, especially of attractive women, are seized 
upon by newspapers, and published. Captions should be 
written plainly on paper attached to the photograph itself, 
but no writing should appear on the photograph print, or 


[ 49 ] 


THE BOOK OF ENTERTAINMENTS 





on the back of the print, since a hard lead pencil might 
damage the print for reproduction. 

In large cities the news photographers are the publicity 
committee’s best allies. These pictorial reporters of news 
events have entreé to editorial sanctums and accredited 
standing. They know what constitutes a good news picture 
and when notified of a social event will often suggest attrac- 
tive subjects or ‘“‘stunts’” which will be unusual enough for 
publication. Another feature of the desirability of calling 
in the news photographer—there is no expense attached 
to the service. The paper pays for the prints used. 

The photographic news service takes pictures in advance 
of the event, such as prominent people working on the 
decorations for a bazaar, amateur actors in rehearsal, any- 
thing that is a novelty or concerned with the activity of 
well known individuals. 

In large cities where there are several competing firms 
it is a mistake to allow more than two rivals to take pic- 
tures, for in making the rounds of the offices to sell prints, 
if there are too many in the field, all lose interest in pushing 
the photographs. It takes courage to withstand the impor- 
tunities of disappointed firms if the event is important, but 
having given the privilege to not more than two, a decided 
stand must be taken. The photographer who has a more 
or less exclusive interest will make more effort to dispose 
of a large number and be on hand constantly for “new 
stuff.” 

In smaller cities where the newspapers rely upon their 
own staff photographers and do not depend upon outside 
photographic services, arrangements for photographs may 
be made with city editors or department editors. Or, 
pictures may be supplied directly to the papers. Editors of 
the photogravure sections are always keen to secure pic- 
tures. This process often takes several weeks, or at least 
many days, and occasionally the rotogravure sections are 


[ 50 ] 


PUBLICITY 





printed in other cities. Thus, pictures may be used, but too 
late to avail advantage for the promoters. It is well to 
anticipate such conditions and provide papers with interest- 
ing pictures just as far in advance as is possible. 

The publicity chairman should be on hand whenever 
pictures are taken to see that the correct facts are given for 
captions to accompany prints and to prevent embarrass- 
ments, which might easily be avoided. ‘The chairman 
should make the appointments with photographers, arrange 
for costumes, atmospheric backgrounds, and when prominent 
persons, who are to be photographed, fail to keep appoint- 
ments, must capture others by telephone before photog- 
raphers become discouraged and leave. 

The women who are to pose must be warned, nay, 
restrained, from using too much make-up. Rouge being 
red, photographs black, making clown like spots or hollows 
‘on the youngest faces. Lip sticks make the mouth hard 
and unnatural in expression when photographed. Large 
groups are not popular for reproduction, as the printed 
result is apt to be indistinct and unsatisfactory. Two or 
three figures are more successfully posed, while a single 
picture of a pretty girl is quickly accepted and may be 
widely used. 

In a recent theatrical production, undertaken by an or- 
ganization which included many celebrities, there were 
dozens of photographs taken of famous men in amusing 
make-up and poses. When the clipping bureaus sent in the 
drift of clippings from all over the country, it was found 
that the most widely published photograph was that of a 
pretty girl holding a little white dog. The next “best 
seller’? was—another pretty girl. 

So, in a campaign for newspaper space, while it is impor- 
tant to have the prominent persons photographed in every 
‘ingenious pose and incongruous occupation that may be 
devised, yet it is wise to have some pretty girls included 


[ 51 ] 


THE BOOK OF ENTERTAINMENTS 








when the cameras click, for they are the royal road to the 
rotogravure sections. 

It is not that the persons whose photographs are used 
again and again are better looking or of higher standing 
in their field than others in the same group who are rarely 
used. Personal publicity is made in much the same manner 
as a snow ball rolls up. The oftener one’s photograph 
appears—the oftener it appears. 

Almost every event should have two kinds of publicity— 
advance notices and mention which follows the opening. 
Advance publicity is designed to build interest in the enter- 
prise, to work up enthusiasm and start the project with 
patronage. Publicity news, following upon the opening, is 
needed to make the affair successful, or if the entertainment 
continues for more than one performance, to sustain the 
interest and help the attendance on following performances. 
Moreover, those present enjoy reading about it afterwards. 

Not only must the advance publicity be planned, and 
every effort made to secure a proper showing, that all may 
become interested, and so desire to participate or attend, but 
at the same time, the opening performance publicity must 
be organized, invitations to the press representatives issued, 
arrangements made with photographers, etc. ‘The event 
will likely produce news, which needs to be collected and 
served to newspapers. If the advance publicity work is 
well done, and the enterprise is appreciated by large audi- 
ences, it may possibly proceed under its own news momen- 
tum, but the advance publicity cannot be left to chance, or 
it will die. | 

One type of advance publicity, always enjoyed and gen- 
erally printed, is the ‘behind the scenes” or “preparing for 
the event’ pictures, where the camera catches the subjects 
working for the cause. Society matrons and debs in over- 
alls with large brushes and buckets of paint, well known 
men with sleeves rolled up, balanced on ladders, pipes in 


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PUBLICITY 





mouths and hammers in hand, are all good photographic 
copy. 

An example of a finely organized publicity campaign is 
the work done by Glenmore Davis for the recent revival of 
“The School for Scandal” by The Players. The cast was 
very distinguished. Big names followed in succession. In 
Mr. Davis’s first story he mentioned about one half the 
cast, a really fine list of names. ‘Then each day he an- 
nounced ‘another distinguished actor added to the cast, 
etc.’ and then when the names had been used he let go the 
sensation, that Ethel Barrymore was to play Lady Teazle. 
Interest was thus pyramided. Stories of other revivals, 
of Daly’s theatre days, of mooted points of Sheridan’s 
story, followed in succession. Everywhere news of the 
revival, news of Sheridan, of the players followed, perhaps 
the best piece of theatrical press work in many years, and 
the play was enjoyed by crowds who, in a single week, paid 
almost $32,000 to see it. 

If the entertainment is to have wide appeal, as in the 
case of bazaars, theatricals, lectures, exhibitions, etc. 
valuable aids for publicity are the small daily and weekly 
newspapers published in the vicinity. The editors of these 
publications are usually glad to run interesting stories of 
events and pictures, if electrotypes are furnished. A note 
should be enclosed giving the name and address of the 
chairman of the publicity committee, that further informa- 
tion may be supplied on request, and an offer to send tickets 
if the editor is interested to attend. 

One dependable person should be delegated to circulate 
window cards. ‘These will often be placed in well located 
windows from which posters are usually excluded if the 
notices are brought to the store by a person of importance, 
arriving in a smart motor car. 

Motor cars with banner announcements may be used to 
acquaint the public with charitable events, especially if the 


[ 53 ] 


THE BOOK OF ENTERTAINMENTS 








car be filled with society leaders, debutantes or popular 
actresses. Large decorated trucks make very spectacular 
advertisements,” moving slowly through the _ street. 
Whether it is Broadway or Main street, they attract atten- 
tion. A group of prominent artists, decorating a tent-like 
sign on a truck, went into Times Square in New York to 
add the finishing touches in the sight of the multitude. 
“But we'll be arrested for blocking traffic,” protested one 
of the group. ‘The publicity engineer of the stunt gazed at 
the speaker in astonishment. ‘‘Why, of course we will! 
That’s the big idea, and I’ve got news photographers and 
movie camera men stationed to get the picture of the mob 
and the arrest. It will be a knock-out.” 

In many cities and towns local moving picture houses 
may be appealed to for publicity. Lantern slides can be 
quickly made to announce events, and if they are not too 
much in competition with the picture theatre, or if the 
request comes from regular patrons, the slides will be shown 
without cost. These slides may be given more interest by 
including comic drawings, and a series of them can be 
employed. 

For very large undertakings the bill boards should be 
added as an auxiliary. So called ‘‘stands” are made up of 
many printed sheets, the 24 sheet being most available. 
Three sheets and one sheets are also very good pieces. 
These should be purchased from regular theatrical or 
show printers, as the field is a specialty in printing. Arrange- 
ments for posting distribution may be made with local bill 
posters. ‘Type displays are not expensive, but specially 
prepared pictures increase the cost and may not be used 
unless the affairs involved are important and justify the 
expenditure. 

When street cars carry front dash signs, as they do in 
many cities, the privilege of using these may be obtained 
from railroad managers, especially if the event is one that 


[ 54 | 


PUBLICITY 





will attract street car patronage and help the business of 
the lines. 

If an event is of major importance, and large receipts are 
at stake, the publicity of news columns should be supple- 
mented with paid advertisements in newspapers. In fact, 
any entertainment, appealing to the general public, for 
which admission is charged, and a profit hoped to be 
realized, should patronize the newspapers to the limit 
afforded. Newspapers cannot exist without support and 
may not be ‘‘worked’”’ for favors when no disposition is 
shown to reciprocate to the modest limit allowed. This 
is too often overlooked, and while it may not hurt a partic- 
ular enterprise, the free horse may not again be ridden by 
the same organization or group. 


[ 55 ] 


CHAPTER VI 
Tue TICKET PROBLEM 


Tickets are of value in that they make it possible to 
check up on attendance and cash receipts, at the same time 
providing patrons with a means of finding and holding seats 
for which they have paid. | 

The need for some such tally must have been recognized 
in very early times, because, according to legendary his- 
tory, there was a period before printing presses, when 
carved tickets of bone or ivory were employed. Indeed, 
certain auditors are said to have presented shells. Passes 
were represented by small carved skulls from which the 
term ‘‘dead head’’ is supposed to have originated. 

Practically no public function is arranged today without 
provision for tickets. Of course, the sale of tickets for 
established enterprises is an efficiently organized proposi- 
tion, reduced to a simple matter of exchanging money for 
paste boards. In the case of entertainments given by clubs, 
certain problems are encountered which make it necessary 
to take precautions to avoid discrepancies between tickets 
and cash when the final count is taken. 

While everyone has bought many tickets and it might be 
assumed that no object is more familiar, yet in composing 
the brief text some important fact is often omitted, only 
to be discovered when the job is received from the printer. 
The message on a card of admission consists of the name 
or nature of the function, name of the organization, the 
place, the date, the hour, the price and ‘‘Admit One.” 
If the price of the ticket includes supper in connection with 


[ 56 ] 


THE TICKET PROBLEM 





dancing or other entertainment, a perforated supper coupon 
or stub must be attached. Also, for reasons mentioned 
farther on, each ticket should be serially numbered, both 
on the ticket proper and the supper check. 

If the tickets are for a theatrical entertainment, concert 
or lecture, with a scale of prices for seats, it is a convenience 
to have those of each price printed in a distinguishing 
color, as blue, red, green, and yellow. This facilitates 
directing people to their places and simplifies counting up 
afterward. In connection with this point, the suggestion 
is offered that if the chairs in the auditorium or hall are 
unnumbered, neat number pasters may be bought at the 
stationer’s and stuck on the chair backs. 

Or, if numbered stickers are not available, they may 
be made from numbers taken from calendar pads. 

Tickets for dinners may be immediately mailed to pur- 
chasers if there is no reserved seating, or if the gathering 
is a small one where guests may find their seat locations 
from place cards. 

In large organized dinners applications for tickets, 
accompanied by checks or cash, should be consecutively 
numbered in the order of their receipt. A few days 
before the dinner is to be held, (allowing sufficient time for 
mailed tickets to be received) the dinner committee should 
meet and organize the seating, giving consideration to 
order of receipt of application, number of persons in a 
party, size of tables available, and special consideration due 
officers, directors, past officers, invited guests, and the 
harmonious make up of table groups. 

It is not always necessary to send a ticket of admission, 
-also bearing a table number, to the purchaser. A plan 
of seating is not usually completed until the guests begin 
to arrive. The guests may be handed a printed list with 
their names alphabetically arranged, with the number of 
their table set opposite the name. The tables will have a 


[ 57] 


THE BOOK OF ENTERTAINMENTS 





large directory number, making them easy to locate on 
entering the room. ‘These directory numbers may be 
cleared when the guests have been seated. 

For large dinners where the guests at a table may not 
be known to each other, a secondary list of guests, by 
tables, will serve to make easy introductions of members 
and guests seated at a table. 

For all non-professional affairs it is necessary to secure 
a large advance sale, otherwise a heavy loss may be met. 
The fact that the number of tickets is limited should be 
used to induce members to secure early accommodations. Yet 
this very feature of exclusiveness is a source of apprehen- 
sion as to whether the limited list will support the affair 
to the extent essential to success. In this contingency 
tickets should not be consigned recklessly among various 
members to sell. Not only does this procedure make it 
impossible to keep account of actual sales, but the result 
is too often a large number turned back unsold at the last 
moment. j 

A small number of tickets should be apportioned among 
the canvassers and workers, who should be urged to sell 
them. A check of sales made should be taken every day or 
two, and more tickets apportioned to those who have been 
successful, and others urged to produce ticket sales. In 
this way tickets can be brought to the buyers, and often 
sales are made, when otherwise these buyers might not be 
purchasers. When the ticket is ready at hand there may be 
no real excuse for not buying it, and so organized ticket 
distribution is very important. At the same time tickets 
should be checked, and money received by the committee, 
periodically, that the committee may know just how its 
ticket sale is progressing. Large blocks of tickets should 
not be given out. It is better to make several easy settle- 
ments than to get into jams over larger financial ticket 
complications. 

[ 58 ] 


THE TICKET PROBLEM 





The ticket sale should be in charge of one person, who 
becomes responsible for all tickets and receipts. Keeping 
the ticket account straight is perhaps the most important 
‘and difficult task connected with the management of 
entertainments. 

A method which has been tried and found to be practical 
is to have every ticket numbered. A record is then kept in 
a bound account book, the number of each ticket sold, the 
name of the purchaser, and the form of payment, whether 
‘check or cash. If the tickets have not been paid for, the 
numbers and names are entered just the same, the payment 
column to be filled in when money is received. This is 
better than keeping memorandum slips which are easily lost. 

In selling tickets to club members it is not always pos- 
sible to insist upon strictly cash transactions. Emergencies 
arise when the uncompromising attitude of professional 
ticket salesmen cannot be employed. 

Members telephone requesting to have tickets sent, stat- 
ing that a check has been or will be forwarded. Time is lim- 
ited and to insure delivery the tickets are mailed. Other 
members happen: along without their check books, and for 
convenience take their tickets with the promise to send pay- 
ment promptly. A record must be kept of all these informal 
transactions, for the best intentioned persons are often the 
most negligent, but the guardian of the tickets must protect 
the interest of the association he represents, and must pro- 
tect, too, himself. 

If any question arises thereafter, as to whether anyone 
to whom tickets were consigned did or did not use them— 
the answer is given, if the tickets bearing those numbers 
‘were or were not turned in at the door. Numbered tickets 
are easily traced and accounted for in all sorts of ticket 
complications. 

With the supper check system it is impossible to have a 
great disparity between the number of tickets sold and the 


[ 59 | 


THE BOOK OF ENTERTAINMENTS 








number of persons charged for by the management. With- 
out this means of accounting, a wide difference has been 
known to occur in favor of the caterer. Not that the hotel 
management has deliberately padded the number, but care- 
less counts might have been taken. With people moving 
about and in the excitement of service it would be impos- 
sible to count accurately. Also, without the check system, 
it is often customary to count the number of suppers served 
by the number of plates prepared in the kitchen. Frequently 
guests have more than one portion, and this would cost the 
promoters of the dance double charge, whereas the manage- 
ment may not intend to charge for extra portions. 

Differences in count, too, might come from dishes pre- 
pared and counted in the kitchen, and not eaten. The 
supper check avoids controversy, and it makes the hotel 
or catering management equally alert to do its part to 
keep the account accurate. Checks should be collected at 
the entrance to the supper room. 

A strict ruling should be made that no unpaid for tickets 
will be reserved at the door, otherwise many cancellations 
may result and the chance for disposing of these tickets is 
perhaps lost. There are persons with a mania for resery- 
ing seats for all sorts of entertainments, on the chance that 
they might require them—persons who rarely attend the 
functions for which they have troubled to engage tickets. 
The theatre box offices have a black list of such patrons, 
as do the big steamship lines. 

If tickets are to be sold at the door—and in spite of the 
most determined resolutions against this, they usually are— 
there should be two persons on duty; one to take tickets 
and one to sell. Even at small affairs it is difficult for one 
man to cope with the situation without making mistakes. 
Everybody seems to come at once. Some crowd through 
forgetting to give up their tickets, others forget to wait 
for supper checks to be torn off and still others may slip 


[ 60 ] 


THE TICKET PROBLEM 





through without the formality of paying at all, while the 
ticket taker is busy making change. 

Ticket selling at the door should be entrusted to some 
level-headed member of the club, though the ticket taker may 
be an employee. ‘The person who sells these tickets to 
last-emoment arrivals must be one who knows whether or not 
applicants are eligible for admission, if the occasion is 
limited to club members and an invited list. There are 
always, in every group, several who, strange as it may 
seem, enjoy this sort of a job and who are happier in this 
occupation than they would be inside dancing. These are 
usually non-dancing husbands, dragged to social gatherings 
by dancing wives. Theirs is the compensation of greeting 
all arrivals and enjoying a busy prominence. The com- 
mittee should consider these members in making plans—for 
they not only make good workers but are grateful for 
something to do. ‘The more socially inclined men are not 
so dependable, entrusted with the task of keeping the 
ticket business straight. 

It is a wise precaution to have the book with the names of 
ticket buyers at hand for ready reference. ‘There are the 
people who have “‘left their tickets at home on the bureau” 
out in the suburbs. Perhaps these arrivals are not known 
to the ticket man and a glance at the book verifies their 
claim for admittance, and as other tickets are substituted a 
note is made of the new numbers given out. Guests, thus 
accommodated, should be requested to send in their tickets 
that they may be accounted for in the final checking up. 

Whether tickets should be collected before or after the 
visit to the coat room should be considered. This depends, 
of course, on the location of the entrances, coat rooms and 
ball rooms. ‘Tickets are often buried deep in pockets and 
bags, the crowds press out of the stairways and elevators 
anxious to get out of the jam and to dispose of cumbersome 
wraps. Therefore, if feasible, tickets should be collected 


[ 61 ] 


THE BOOK OF ENTERTAINMENTS 





at the entrance of the ball rooms, other exits being cut off. 
Anyone desiring to leave temporarily should be given a pass 
out check, to be reclaimed when re-entering. 

Complimentary tickets should be doled out with discre- 
tion by the chairman, who alone should be authorized to 
issue them. A strict accounting must be kept of these. 
Tickets are sent to city editors of various newspapers, 
artists who are contributing to the program, guests of 
honor, if any, and such persons not members of the organi- 
zation giving the affair who have contributed special 
services, and who receive no other compensation. Mu- 
sicians, electricians, private detectives, photographers, etc. 
are served with refreshments at the expense of the organi- 
zation, but it is not customary to provide them with tickets, 
the house management taking care of them, upon specific 
order, and adding the cost to the bill. 


[ 62 ] 


~~ 


CHAPTER VII 
DECORATIONS 


Smilax by the mile and paper roses; Japanese paper 
lanterns and potted palms to conceal the orchestra—ah! 
those were the good, old, simple days when the newspapers 
next morning would rhapsodize that “The scene was trans- 
formed into a veritable Fairyland!” Whatever has become 
of that glossy-leafed little vine that once ran around the 
‘moulding of every ceiling that looked down upon social 
festivities of any pretentions? And the palms that con- 
cealed the orchestra that was to be heard and not seen? 
Imagine paying a King of Jazz to bring his musical acrobats 
and comedians and then hiding them away! 

Having decided to hold the dance in the most gorgeous 
ballroom the city boasts—the committee looks it over to 
see what can be ‘“‘done”’ with it. ‘‘Awful,’” is the verdict. 
“Just look at those chandeliers! They will, of course, be 
concealed when we stretch something over that dreadful 
gold ceiling. Of course the place will look entirely differ- 
ent when we cover up those panelled walls and mirrors.” 
The modern party must have decorations of original and 
distinctive character, Just as a dramatic performance must 
have appropriate scenery. 

In planning a decorative scheme the resources and in- 
genuity of the members must be considered. ‘These may 
be relied upon to a surprising degree, for enthusiastic 
amateurs often achieve results more in the spirit of the 
occasion than a professional decorator bound to tra- 
ditions. The professional should be called in, however, 


[ 63 ] 


THE BOOK OF ENTERTAINMENTS 





if the plans call for elaborate frame work, which must be 
firmly anchored to walls or flooring, for he will be able to 
do this work without injury to the premises. Moreover, 
fabrics may be rented, if a quantity is required, much 
cheaper than they can be bought. For certain enterprises 
it is advisable to turn the entire work over to experts, who 
make an estimate of the job in advance and undertake the 
responsibility. 

For occasions such as costume parties, bazaars, etc. the 
committee should work out its own original ideas, and 
carry them out with volunteer helpers among the member- 
ship. 

The busy architect, deep in the preparation of plans and 
specifications for a school house or hospital, may never have 
been endowed with the light and airy, but perhaps among 
his staff of detail draughtsmen is a young man keen to give 
expression to a grand idea. One of the greatest pieces of 
decoration ever known was given to a serious minded archi- 
tect who had never previously been concerned with building 
designs except those executed in brick, stone and wood. 
He produced the most beautiful and colorful exposition 
hung with silks. It was a golden opportunity, for it is 
not always given to a designer to play with costly fabrics. 

Halls, armories, church parlors, hotel ball rooms, and 
other places where affairs are usually held, are often too 
well known in their design and color scheme to offer a 
thrill, and it is therefore valuable to create a new scenic 
atmosphere. This is not only to be desired for providing 
an element of surprise for those who attend, but the fame 
of the decorations spreads quickly, and becomes immediately 
one of the compelling attractions. It is generally safe 
to assume that an interesting plan, well conceived and 
carefully executed, will attract more dollars than the 
investment. 

Such decorations, too, strike a key and establish a note 


[ 64 ] 


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DECORATIONS 





for the whole undertaking, and often when the question 
_of setting has been determined upon, the whole plan begins 
to unfold itself, while suggestions follow fast, and what has 
seemed to be a gigantic task shapes up in logical sequence. 
The result is often surprising, not for what has been 
accomplished, but for the ease with which a large scheme 
is realized. 

The committee, always conscious of the expense element, 
should be very careful to specify exactly how much money 
is available for decorations. No matter how little money 
is at hand, the appropriation can be spent with taste and 
appreciation. In fact, little money requires, perhaps, 
more skillful planning, while a prodigal expenditure may 
offer just as many temptations to violate good taste. 
Money limitations are common for architects and builders, 
and in setting a limit on decoration expenditures, the com- 
mittee may make a problem difficult, but limits of money 
to be spent do not make a problem impossible. 

Then, whena plan has been adopted the committee should 
concern itself in the execution, either directly, or in close 
association with those who are putting the plan through, 
so that there can be no risk of the expenditures exceeding 
the amount of money to be appropriated for decoration. 

A committee, having direct charge, can never meet a more 
embarrassing moment than to find that, while the attend- 
ance has been very large and the receipts important, no 
profit has been realized from the efforts because expendi- 
tures have exceeded bounds, and more money has been 
spent than was justified. It is easily possible to spend too 
much money. 

No better plan for the consideration of expenditures can 
be suggested than the rule of purchasing set down by a 
keen business man who imposed his tests against every pro- 
spective purchase. ‘These tests were; a, is this a worthy 
project? b, is it worth the price asked? c, can it be obtained 


[ 65 ] 


THE BOOK OF ENTERTAINMENTS 





elsewhere at a less price? d, can the effect be approximated 
at less cost, with no serious hurt or loss of effectiveness? 
e, can the proposed purchase be afforded? f, is the money 
available, or will funds certainly be forthcoming to pay the 
cost, when due? 

If these ordinary precautions of good purchasing judg- 
ment be applied to every proposed project the unworthy 
will fall aside, leaving the resources available to the worthy 
and sound projects. 


Side Wall Decorations 


A framework built of light battens, upon which a heavy 
jute paper may be tacked, furnishes a background upon 
which may be painted scenes of any desired locale, figures 
or decorative motifs. Windows with heavy draperies, 
mirrors and panelled walls are blocked out to a height of 
10 or 12 feet. 

The strips of wood batten are brought in already cut 
to proper lengths, and the framework is put together while 
placed flat on the floor, each side to be raised when com- 
pleted and fastened into place by wire, fastened to window 
frames at the top. At the bottom, the frame work is 
spaced, and held from the wall by smaller wooden strips, 
laid on the floor, to which the lengthwise bottom frame 
batten is nailed. These small pieces are cut to the exact 
length that the framework is to stand away from the base- 
board of the wall. ‘This space should be sufficient for the 
framework to escape contact with possible side lights—or 
a narrow passageway behind may be left for opening and 
closing windows. 

Upright battens are spaced at intervals of 50 to 72 inches, 
the paper coming in these widths. The widest paper is 
preferred but is not always in stock and unless ordered far 
enough in advance it may be necessary to take what is 


[ 66 ] 


DECORATIONS 





available. In tacking the paper to the vertical battens, 
allow a quarter of an inch overlap. Tack down with 
smallest tacks, using enough tacks to keep the edges from 
bulging. The cost for paper to cover four sides of a fairly 
large ballroom is from $12 to $15. Jute paper is sold 
by the pound in various size rolls. 

The paint to be used on this surface is what is called 
“dry” color, bought by the pound at any paint store, and 
mixed with glue size and water. It should be thin enough to 
apply easily and not too thin to be “watery.” Certain 
colors such as yellow, blue, red, vermilion, dark green, 
black and white require no mixing with other color, while 
Orange is made from vermilion and yellow; warm green 
from yellow and new blue; purple from carmine red and 
ultra marine blue. The addition of white to any strong 
color makes lighter tones. Cerulean blue makes a vivid 
Italian sky. It should be borne in mind that these colors 
dry out several shades lighter than when applied. 

It is better to experiment with a small quantity it un- 
familiar with mixing colors. Yellow ochre makes good 
“sand” and gives a warm tone to green. 

There should be several ten-quart pails, one for holding 
clear water, another for washing brushes, still others if 
large quantities of particular colors are required, as in the 
case of a blue sky line that may extend around the entire 
framework, or green grass, or neutral foreground. From 
these larger buckets smaller quantities may be poured into 
small cans for the workers. This smaller quantity is de- 
sirable for more reasons than one—besides being convenient 
to hold, careless helpers may tip over the paint and the 
calamity is lessened by the amount of paint being limited. 
Quart pails may be bought for ten cents each, but even 
better at the same price are one quart tin cups with a 
handle. Several dozen of these should be purchased if 
there are to be many helpers. 


[ 67 ] 


THE BOOK OF ENTERTAINMENTS 





The tins may be easily washed out with water and this 
must be done before changing from one color to another. 
Otherwise the color gets muddy or is changed entirely. 
The same is true of brushes. Experienced painters will 
doubtless smile at such obvious suggestions, but persons not 
accustomed to using paints get into messes on these very 
points. In the rush of working novices may not stop to 
think, or they may not even know that dabbing a black 
brush into a can of white is taboo. Large, medium and 
small brushes should be supplied. 

Even crude and hurried attempts are surprisingly effec- 
tive and amusing, when the panorama of scenes or design 
is completed. While the outline should be sketched in by 
a person or persons with some facility in drawing, the 
large surfaces may be filled in by the most inexperienced 
helpers. If there is no artistic talent available within the 
organization to make the “layout,” then a scene painter 
may be employed to advantage. Even in smaller towns a 
scenic artist may be found connected with the local theatre, 
and his services engaged for a reasonable price. In the 
extremity of need a local sign painter may compose a 
splendid layout of a suggested idea. 

The mural effect just described might be more practical 
to use in a room other than the main ball room, if the 
occasion happened to be a costume dance. A smaller room 
nearby, where small tables are placed for serving cool 
drinks, is made interesting by this sort of decoration, and a 
more leisurely opportunity given for appreciation of the 
murals by the chatting groups, resting between dances. 

If the framework around an entire room seems too 
elaborate an undertaking for a small affair, the same scheme 
may be worked out with a series of screens, made of battens 
and covered with paper and decorated. The advantage of 
these is that they may be constructed in advance of the 
event, folded and set up at the last moment, 


[ 68 ] 


DECORATIONS 





The ball room may indeed be left quite unadorned, if the 
lighting is properly tricked, for modern lighting has become 
an important feature of decoration. Nothing spoils the 
spontaneity of a party like garish lights, which cause every- 
body to feel self conscious. ‘There is no charm of illusion. 
With lights shrouded in amber, rose, magenta, or blue the 
scene becomes at once friendly, flattering, mysterious. 

Squares of silk or chiffon thrown over groups of side 
bracket lights, chandeliers shaded with colored thin 
fabrics, or electric bulbs covered with colored shades, or the 
bulbs themselves dipped in color dye, all produce soft light- 
ing. An electrician will bring his own spot light and operate 
it for a cost of, say $15 for an evening, and spotlights, 
throwing various colors, make a pretty sight. 

Much may be done with lanterns. ‘There is always 
charm and romance about these swinging affairs. Even 
the cheap little Japanese variety, which used to help make 
the “Veritable Fairyland’? were delightful—until they 
caught fire and went up in a puff of smoke. Electric bulbs 
_ have made the lanterns safe to use indoors, and they may be 
strung around if an expert electrician is called in to do the 
stringing. 

Chinese lanterns, large, decorated, opalescent bubbles, 
round, square, or six-sided, have supplanted the Japanese 
- accordions with the candle holder. Very beautiful and 
exotic lanterns may be made of plain or figured silks or 
the new batik paper. Frames may be made of tiny strips 
of wood, or wire. Lanterns of futuristic design fit in 
Russian or Oriental scenes. For Italian or Spanish affairs 
lanterns made of parchment, with the edges bound with 
_ black or gold passepartout paper, give the effect of wrought 
iron or brass, and the parchment may be Manila paper, 
coated with shellac. 

These lanterns should be simple in design—preferably 
‘square. They are stunning when a fine scroll design, 


[ 69 ] 


THE BOOK OF ENTERTAINMENT 





cut out of black paper is pasted on the parchment. For 
a rustic occasion “‘barn” lanterns may be glorified if frames 
and handles are painted in bright colors. 

Booths may be made either of cloth draped over a frame 
of thin strips of wood, fastened to a strong table or counter, 
or a “‘front’’ may be cut out of compo board and nailed to 
rough framing, a pine table or large packing cases. The 
compo board may be painted or decorated. Squares or 





Booths may be of cloth draped over light frame work 


oblongs of striped awning may be stretched flat above a 
table which is draped or painted attractively. If used 
indoors cords may fasten the awning to adjacent walls, 
or tall painted poles on standards. Out of doors the cords 
may be stretched to trees or poles set in the ground. 
These are typical Arab street “‘tents,” and are often of 
burlap or anything used to keep off the broiling sun. 
Cheesecloth was long unrivalled as the good old stand- 
by for festooning purposes. The price was about five cents 


[ 70 ] 


DECORATIONS 





a yard, but now it has gone up to about twenty cents a yard, 
for this material. Thin coarse white cheesecloth may still be 
bought at that price and dyed if anyone will take the slight 
trouble to do so. Voiles, silkaline and sateens are superior 
to cheesecloth for many purposes and not much more 
expensive. 
But it is not the quantity of material used—or the 
attempt to cover all the wall space that constitutes a well 


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Booth fronts may be cut out of compo board 
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decorated room. In the prodigal amount of bunting 
formerly used, the mind was more occupied in trying to 
figure out how many yards it must have taken—than the 
eye was pleased by the effect achieved. 

To alleviate the height or bleakness of an armory or 
convention hall, a false ceiling or canopy is the first ambi- 
tion of the committee on decorations. Unfortunately this 
is the most expensive project in the decorating field. One 
of silk made especially to fit may easily run into $10,000 
cost. Labor for making is no small part of this expense 


[71] 


THE BOOK OF ENTERTAINMENTS 





and raising the ceiling in place is another feature that 
involves solving peculiar structural problems. Sometimes 
a local decorator will have in stock a canopy fitting the 
particular building, in which case rental charges and hang- 
ing might not be beyond reach. 

But a compromise between this extreme case and nothing 
at all is the use of streamers running from the center to the 
encircling walls. But this is a task for the expert, if the 
ceiling is high. A large square of fabric, low hung and 
fastened by cords or wires to the four corners of the walls, 
is enough to cut off and soften glaring center lights and 
break the monotony. 

A glorious new decorative material has come into vogue 
recently and has been seized upon by the most advanced 
of theatrical art directors because of the marvellous effects 
that may be obtained by its use. The stuff is glorified oil- 
cloth, obtainable in any color as well as in gold, silver and 
metal effects. One of the silver designs has the sparkling 
quality of sunlight on rippling water—indescribably lovely 
for a back drop or curtains. ‘These oilcloths (so-called, 
though far removed from the variety associated with 
kitchen use) are flexible and soft, falling into the most 
graceful folds when used for drapery. Even costumes are 
made of this material, as may be noted in the porcelain 
number from Artists and Models shown herewith. 

A stunning stage effect had silhouettes of trees cut out 
of compo board and covered with the shiny black oilcloth, 
which looks like patent leather. The possibilities for using 
these art oilcloths are unlimited for drapes, cut out designs, 
etc. What more perfect illusion could be used for an 
Iceland scene than shimmering white oilcloth stretched 
over an uneven surface with lavender lights playing over it 
and a herd of stuffed seals made of black or brown oil- 
cloth placed on the snow white drifts. Or, for a warmer 
atmosphere, vermilion oilcloth forming the background and 


[ 72 ] 


DECORATIONS 





the lights covered with vermilion, orange and yellow chif- 
fon cut in tattery flames. 

Seagreen is another color in which oilcloth is particularly 
effective. Black and white is a combination that can be 
more startling than all the colors of the rainbow. 


Use of the American Flag in Decoration 


Standards of use for the American flag have been defined 
in a little book issued on request by the War Department at 
Washington. It is no longer considered appropriate to 
hang the flag in festoons, or to gather the corners in bunches 
as decorators have done since Betsy Ross first designed the 
flag. Instead it is to hang free whenever shown, and is 
never to be used except in patriotic celebrations. A society 
has been formed to protect the flag from advertising and 
inappropriate use, and it is gathering new members con- 
stantly. To avoid complication and controversy the War 
Department’s little booklet should be obtained when flag 
decorations are considered. | 
A rough stone, stucco or plaster effect for walls or 
_ house fronts may be accomplished by putting a coating of 
glue or shellac on compo board and before it dries, sprink- 
ling the surface thickly with coarse sawdust. When this 
_ has hardened the whole surface may be painted gray, tan, 
or any shade called for by the plans. For Italian walls 
or houses soft pink, pale blue or light yellow are realistic 
and pleasing. 
_ Many persons who protest that they “‘couldn’t draw a 

cat if they were to be hung for it,’’ may have the skill of 
wizards with a pair of shears. Cloth, oilcloth or paper 
cut-outs appliqued on backgrounds are stunningly used in 
decoration. The vivid colors in flat masses may be broadly 
impressionistic. The simple “poster” idea is always good. 
Even so primitive an attempt as oblongs, squares, ovals 


[73 | 


THE BOOK OF ENTERTAINMENTS 





and circles of colors, placed in the right spots on neutral 
walls, bring results out of all proportion to the effort. 
Good design, arrangement and pleasing color combinations 
cannot fail to be impressive. 

When ornamental plants are used, boxwood or ever- 
greens are preferable to spiky leaved palms, unless the 
setting calls for palms. When an out-door effect and solid 
masses of green are desired, boxwood or privet hedge or 
evergreens are most satisfactory. Artificial hedges may be 
rented or if woods are in reach small evergreen trees and 
heaps of branches may be made into hedges, placed in low 
boxes, painted or covered with green sateen. 

“T’ve got a stunning idea—but of course we couldn’t do 
it!” sighs a member of a committee, planning an affair. 
“The Beach at Deauville.” This picture has been haunt- 
ing since a visit to the French resort a year previous. 

Yet, the Beach at Deauville might as well be attempted 
as anything else, since in decoration a certain license may 
be taken; an effect may be broad and merely suggestive. 
Nothing should be passed up that offers an opportunity for 
a striking scheme in favor of something that is common- 
place and easy. Sand and sky being two assets of this 
or any other beach, of course, cannot be brought in sub- 
stance into a ball room, but the colors of both sand and sky 
may be approximated by a four-foot wide band of sand 
colored cloth or painted paper, above which the brilliant 
blue of the sky extends upward about eight feet. Against 
the blue, white sails, painted or cut from white cloth and 
appliqued, cut the horizon line. Large beach parasols of 
apricot and white striped awning cloth, against this back- 
ground, give a touch of reality, especially if close to the 
“sand,” are placed several of the familiar little bath 
houses, which may be made of wood frames covered with 
striped awning cloth. 

Even Venice may be boldly attempted. Upwards from 


[74] 


DECORATIONS 





the floor, a water line about three feet high should be 
drawn and the three foot space colored to simulate water. 
Above the water representing a canal, a row of pastel 
tinted palazzos is painted, with sky above. ‘There are 
innumerable color prints of Venice, from which these scenes 
may be modelled. Around the walls at rather close inter- 
vals are placed gondola mooring spiles, with decorative 
turned tops and painted in gay colors. 

To break the monotony of rows of house fronts there 
can be introduced an open space of sky and water, and 
boats with bright colored sails in the distance. One side 
of the room might be a cafe with a wide awning of red 
orange Venetian sail cloth. — 

In consideration of any plan a list should be made of 
everything that the subject suggests. The practical and 
most obvious items may then be selected to create atmos- 
phere. In a search for the unusual, art magazines may 
furnish a hint. Russian and French publications have many 
color plates of great beauty. These may be found in book- 
shops. Theatrical magazines, reproducing modern stage 
settings, will suggest other possibilities. ‘There are several 
gorgeously illustrated pirate books which furnish plenty of 
Captain Kiddish environment. 

Museums are a Mecca for professional decorators in 
search of beautiful designs. Jewelers are inspired by the 
art of early Egyptian craftsmen. Architects, dressmakers, 
and other creators of designs find abundant material adapt- 
able to modern use, which suggests that the seeker for 
entertainment ideas will be rewarded by search of the same 
sources. In fact, there are suggestions at every hand, and 
it becomes a matter of elimination, and of deciding which 
of a thousand beautiful or novel designs is most desirable. 
Usually it is not necessary to go to elaborate pains to find 
an idea. One somehow always appears, full fledged in 
in the hour of need, from a clear sky. Details often need 


[ 75 | 


THE BOOK OF ENTERTAINMENTS 





to be looked up, and are usually to be found in museums 
and libraries. 

Even if the decorations are to consist simply of greens 
and flowers, there should be a design worked out in advance. 
Otherwise fast workers will have one spot finished, and 
most of the supplies used up, before slower ones get under 
way and the material remaining for the rest of the room 
only permits of a thin appearance. With everyone follow- 
ing his own ideas there is bound to be a hit or miss effect in 
any event. 

A sketch, no matter how crudely drawn, indicating just 
where everything is to be placed, should be provided and 
some person appointed to supervise carrying it out. 

When the entertainment is to be held in a hotel or other 
place where the calendar is usually crowded with events, 
the use of the ball room or assembly hall may not be avail- 
able until the morning of the day of the event. This 
demands speed in getting the decorations completed. Many 
volunteers should be enlisted, more even than are required, 
because it may be assumed that some will not appear any- 
way. Everything to be used in the work should be collected 
and delivered on the premises the day before, that the 
best part of the morning may not be wasted in wild scurry- 
ing around after hammers, tacks, brushes and other in- 
numerable small articles without which not a wheel can be 
turned. In the meantime would-be-workers stand around 
idle and drift away to “‘come back later when the paint 
gets here.”’ 

Perhaps they do not show up again until after luncheon. 
They are not to be blamed, because they may have given 
up valuable time to be on hand early. Nothing is more 
aggravating than to keep an appointment only to find that 
coming later would have served just as well. When belated 
proceedings do get under way everybody is cross and work 
has to be rushed, plans simplified, many features perhaps 


[ 76 ] 


DECORATIONS 





eliminated, and when the task is finished everyone is 
too worried and too tired to have enthusiasm for the eve- 
ning. This may all be avoided by having things start with 
snap, with everything needed at hand and with enough per- 
sons engaged to come so that the tax upon any one indi- 
vidual worker is not too great. 

It is advisable to employ one ‘“‘handy”’ man, experienced 
in ladder climbing and other useful arts. He will have 
practical experience of how many things may be accom- 
plished which suddenly appear to be impossible to the 
volunteers. There may be an employee of the place who 
might welcome an opportunity to make a few extra dollars, 
and the management is usually obliging in loaning his 
services. 

Fire regulations are important to take up with the 
“management of the premises. Just how strict rulings may 
be depends upon the size of the town or city, and upon 
particular buildings. The subject should be investigated 
when plans are being made. Decorations may be fire- 
‘proofed by a preparation sold for the purpose, and in many 
places there are firms which do this for a nominal charge. 
This item should never be left till the last moment. 

Outdoor decorations for bazaars, etc. which extend over 
a period of several days, should be planned, with the pos- 
sibilities of rain and bad weather in mind. Instead of 
compo board and paper, and the use of water color paints, 
canvas and oil paints should be substituted. Frame work 
must be of stronger wood than the thin battens permitted 
for interior effects, as these might be blown away by strong 
winds. Many gay fabrics which a shower would cause to 
“run,” or a brilliant sun quickly fade, may be replaced with 
awning cloths, fancy oilcloths or painted burlaps. 

Iron tables and chairs are to be preferred to wooden ones 
if possible, as the latter dry out slowly following rains. 
Grass and trees, of course, make a natural decoration in 


[77 ] 


THE BOOK OF ENTERTAINMENTS 


themselves and with lanterns used in quantities no other 
decorations are necessary for an evening lawn féte. 
In making artificial flowers for decorating purposes the 





Futuristic flowers of brilliant oil cloth or other gay colored material | 


[78 | 


DECORATIONS 








object is effect, not verity. The time and effort consumed in 
puttering over a flower that is perfect at close range is 
largely wasted when the festoons are in place. Futuristic 
flowers, huge in size and exaggerated in color, are not 
designed to blush unseen and certainly minimize the labor 
of the Burbanks who create blossoms out of cloth, 
cardboard, wire, crepe paper, the paste pot and shears. 
Made flat and fastened to a green cloth background, 
vines may be worked in and allowed to trail down at 
uneven lengths around the wall. Large cardboard discs are 
covered with cloth, art oilcloth or painted in brilliant 
colors, and in the center a round spot of black or contrasting 


De: 


The assembling of a futuristic flower 





color. Dozens of these “flowers”? may be made in an 
incredibly short time, ranging in size from a dinner plate 
to a sunshade. Several sizes are most effective. These 
flowers may be cut in various shapes if desired and time 
permits; square petals, rounded petals and combinations. 
Lilies may be made of white crepe paper, white oilcloth 
orcambric. A length of the material is folded and slashed 
for the petals, the uncut edge puckered and secured with 
‘wire or thread and covered with green. ‘These may be 
mounted on a long green stem with leaves. Cotton crepe 
or cambric makes splendid poppies. 
Morning glory vines are easily made. For the vine 
flexible wire is covered with green crepe paper. ‘The 
‘flowers are made of tubes of paper, with the grain running 
‘the long way, gathered tightly in the fingers, at one end 


: [79] 





THE BOOK OF ENTERTAINMENTS 


eS AAAS EEA TT TCU ASAT NOPE ITIRACY EWROSTINTOSUTSSINM HAY Me Sm a Ta 


fastened with very fine wire, the other end stretched out 
and rolled over. A small calyx of green is added to the 
gathered end and fastened to the long vine. Leaves are 
cut heart-shaped and pasted on wire, through the center— 
two thicknesses of paper, one each side of the wire, make 
them firmer. 

To stiffen cambric flowers a coat of white shellac not 
only accomplishes this, but gives a fragile transparent 
effect. (Figured challis, by the way, when treated to a 
couple of coats of shellac, looks like painted parchment 
and is used for lamp shades. The background may be 
painted out with opaque enamel paint, first applying 
shellac.) 

Dead branches furnish a foundation for apple and peach 
blossom boughs. Bits of pink or white and pink crepe paper 
are puckered into shape and tied on. Leaves are made in 
the same manner. 

To make stems, cut narrow strips of the fine grade 
of crepe paper with the grain running across. ‘Twist the 
end of the strip to the top of the wire; then, hold- 
ing the strip and the wire in the left hand, twirl the 
wire between the thumb and forefinger of the right hand, 
at the same time guiding the strip as it wraps itself around 
the wire. The strip should be slanted down obliquely and 
stretched as it is wound. 

Little paper figurines start with a wire covered in the 
above manner of flesh pink erepe paper. For South Sea 
Islanders a dark brown paper is used. The wire should 
be about 14 inches long, then a twisted loop is made to 
form a foundation for the head. Another piece of wound 
wire, eight inches long, is twisted once around the loop at 
the top, forming arms. A strip of paper about one and a 
half inches wide is then wound around and around the 
“head”? loop, a little library paste dabbed on, and the 
final layer of paper smoothed carefully, the whole being 


[ 80 ] 


DECORATIONS 








pressed into shape. The long end of paper is then twisted 
under the arm wires, and back and forth until the wire is 
well covered, and then the rest of the body is made in the 
same fashion. 

The body should be comparatively short as the smart 
effect of the figures depends on the long slim legs. To 
dress, start with the head. A narrow strip of crepe paper 
is twisted around the top of the head which is moistened 
with paste, a tiny bit of which may be applied to the under 


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Paper figurines start with wire covered with crepe paper 


side of the paper as it is wound, the end also being secured 
with paste. 

Ballet skirts are made with several thicknesses of paper, 
puckered around the lower part of the body, to which a 
dab of paste has been applied. Another strip of narrow 
paper wound around the upper edge of the skirt is extended 
upwards to form a bodice. 

Since every woman is more or less adept at working in 
crepe paper it is unnecessary to describe various ways 
different types may be made. But some effects which work 
Out simply are shown in accompanying illustrations. 

These figures make attractive place cards when placed 
on small white cardboard bases. ‘To mount, a small hole 
is punched in the center of the card, one wire passed 


[ 81 ] 


THE BOOK OF ENTERTAINMENTS 





through, twisted and pressed flat against the cardboard 
and the area surrounding the wire covered with glue over 
which a piece of white paper is placed and, until dry, held 
firmly with rubber bands. Mounted on match boxes, the 
top of the box is covered with glue and the card held to 
this with rubber bands until dry. 





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CHAPTER VIII 
CosTUME DANCES 


“You don’t mean to tell me you aren’t going to the ball!” 
exclaimed Cinderella’s fairy godmother, who had popped 
in on that famous evening in history when the first 
masquerade ball was to take place. 

“Nope,” admitted Miss Cinderella. 

““Weren’t you invited ?”’ demanded the caller, indignantly. 

“Oh, yes, of course,” yawned her young friend. ‘But, 
I’m fed up on dances. I always have a stupid time.” 

‘‘That’s because you look so bored and grouchy you 
scare off partners,” said the old woman. 

‘Then I’m better off here by my nice cosy fire!” grinned 
Cinderella. ‘“‘As the King and Queen are giving this dance 
it’s bound to be stiff and formal.” 

‘But it isn’t!’’ declared Mrs. Witch. ‘I guess you didn’t 
read your invitation very carefully, or you would realize 
that this is something brand new in parties. You see even 
the King and Queen wanted to have a good time for a 
change so they called in several of us prominent magicians 
_ to think up some sort of an affair that would be fun. For 
the evening they didn’t want to be King and Queen, but 
just mix around and forget about it. Well, that was 
simple enough to arrange. We told them to let everybody, 
including themselves, come as somebody else in fancy 
costume—a ‘masquerade’ we decided to call it— and they’d 
be surprised what a good time would just happen.” 

“What is the Queen going as?” asked Cinderella, grow- 
ing curious. 

[ 83 ] 


THE BOOK OF ENTERTAINMENTS 





“‘She’s going to the ball disguised as a beggar girl and the 
King is going as a jester and his jester is going as a king. 
I’m telling you it will be a riot!” 

“Well, it’s too late now for me to get up a costume,’’ 
was Cinderella’s final argument against going. 

“T’ll prophesy right now that lots of folks, centuries 
hence, are going to pull that same line,” snickered Mrs. 
Witch. ‘But I’m always going to be right on hand to 
help ’em out and see that they go at the last moment. They 
won’t know I’m around, of course, but since | am in a way 
responsible for these fancy dress balls, I’m going to put 
all my magic into the success of every one of them from 
now on. Now about your costume, my dear!” 

‘‘There’s not a thing in the house to make one of,” said 
Cinderella, impatiently. ‘‘My flapper sisters have used every- 
thing. ‘They have fussed for a couple of months over 
theirs and they even insisted on making me a costume. 
When I refused point blank to go they let another girl 
wear it. And how silly they all looked when they started 
off!” 

‘‘How history is going to misrepresent those sweet little 
sisters of yours,” sighed Mrs. Witch. ‘Those gauzy 
window curtains and this table scarf will do nicely for a 
costume—get me the scissors and some pins now—and 
stand up here—stop wiggling around—”’ | 

It did seem like magic the way that clever woman dolled 
up Cinderella, which is no doubt the way that exaggerated 
story started about the mice and pumpkin. She did turn 
Cinderella, who was a nice, plain, sensible girl no one would 
notice twice, into quite a fascinating little vamp. 

Now Cinderella, who had never had any illusions about 
her looks, gazed into the mirror and got quite a new idea 
of herself rigged up like Cleopatra or Carmen or whoever 
it was—and went off to the ball full of pep and had the 
time of her life. 

[ 84 ] 


COSTUME DANCES 


A certain Mr. Albert Jones, who was in the real estate 
business, was there disguised as a prince and he fell very 
hard for Cinderella, though he had known her for years 
and never noticed her before, as a matter of fact. More- 
over, Cinderella wondered why she had never realized 
what a fascinating person Al Jones really was. 

So ever since that first fancy dress ball the same sort of 
magic that made Cinderella lose her grouch (tradition has 
made it a slipper) and caused Mr. Jones to feel and act 
like a prince, has never failed to make costume parties 
gayer and more enjoyable than all others. 

At no other form of entertainment do the guests have 
the same opportunity of being so much a part of the oc- 
casion, contributing as they do to the decorative ensemble 
and bringing with them a carnival spirit. They have 
stepped out of prosaic, every-day roles and assumed char- 
acters amusing and romantic. For some odd reason most 
people are less self conscious in even the most grotesque 
make-up than they are in conventional evening dress. 

For large parties, especially club gatherings, fancy dress 
guarantees that things will start with a bang and keep 
going. There is nothing like one of these colorful frolics 
to bridge the years between the youngsters and the older 
crowd, while new members find it easier to get acquainted 
in the friendly make-believe atmosphere than at more con- 
ventional affairs. All are benefited by donning fancy 
costumes, now and then, if only to make the thrilling dis- 
covery that they aren't really as old as they thought they 
were | 

Many, who do not dance, will attend a costume ball 
since it is interesting as a spectacle. Being in costume 
makes them feel a part of the gay assembly, which is not 
the case sitting around the walls at conventional dances. 
For those who do not dance, adjacent rooms with small 
tables are centers of attraction. 


[ 85 ] 


THE BOOK OF ENTERTAINMENTS 








For the diversion too, of the non-dancers, always 
a considerable number in any organization, various stunts 
may be introduced during the evening. These features 
should be short and not held in the main ball room, as 
many of the dancers resent intrusion of entertainment 
acts which would hold up dancing. 

Modern costume affairs owe much of their present day 
originality and beauty to the artists, who, rebelling at the 
tawdry, uncomfortable creations found at the costumers, 
began to design and make their own. A new interest was 
given the old fashioned masquerade ball in this departure 
from the stereotyped list of Carmens and toreadors, 
Pierrots and Columbines, Follies and Harlequins. Domi- 
noes, which once made these parties look like a carbon 
copy of a Ku Klux meeting, were tabooed. 

It is only fair to professional costumers to say that they 
have improved their wares as the demand grew for more 
comfortable and more original fancy dress. No longer do 
they pass out heavy suits of armor, velvets with tarnished 
gold galoon, over-decorated robes of royalty trimmed 
with erminized cat fur, satins clumsy with linings and whale- 
bone, topped off with headdresses which seemed made of 
cement. 

With the new note in costumes came the idea of making 
the whole affair conform to some particular period, locale 
or fanciful scheme. Far from limiting the range of cos- 
tumes in variety, a specific plan or suggestion seems to 
inspire unlimited originality. With something definite to 
start on the imagination is stimulated. Of course, not every 
one conforms to the atmospheric spirit of each affair, but 
a large enough number do so to establish the desired 
effect. Many persons get one good costume and wear it 
year after year. Indeed, everyone who goes to costume 
parties,—or is liable to go—should have such an outfit for 
emergencies. Yet, whenever it is possible to get up a new 


[ 86 ] 


COSTUME DANCES 





costume for each special occasion it is well worth a little 
trouble, as any fancy dress fan will testify. 

With costumes conforming more and more to a motif 
came the introduction of appropriate decorations to set 
off and accentuate them. To create an illusion of remote 
and picturesque lands is not so difficult as it may sound. 
For instance, the enchanting South Sea Isles on a moon- 
lit night. This might have been done on an expensive 
and elaborate scale and have fallen far short of the alto- 
gether delightful impression achieved so simply by the 
Fakirs Society of New York,—soft bluish lights shining 
on the ball room floor, while on the vast ceiling were the 
shadows of innumerable palms. ‘The palm shadows, which 
mystified many, were produced by a silhouette design of 
palm leaves cut in thin sheet metal and fastened in front of 
the colored gelatine slides of several concealed spot lights 
turned ceilingward. 

The effect was of a great canopy of tropical foliage in 
shadow. The magic of gently rustling palms remains 
with everyone who attended that dance. In the center of 
the ball room was a Tahitian temple, around the base of 
_which ran a ledge of imitation rock, made of boards covered 
with gray cloth. Against this background how authentic 
seemed the missionaries, the shipwrecked sailors, the beach- 
-combers, the native girls and all the other strange deni- 
zens of the South Sea Isles who had dropped down to rest 
between dances. 

The same ball room became Russian the next year when 
the Fakirs made a colorful frieze around the gallery, a 
strip of cloth painted in primitive colors, the design being 
repeated geometrical flowers. ‘This is an effective way to 
give a well known room a different character. There is 
advantage in this, not only for the beautiful effects which 
may be obtained, but also for the charm and surprising 
newness of a room too well known by the guests. 


[ 87 ] 


THE BOOK OF ENTERTAINMENTS 





To change the character of a room need not be an ex- 
pensive job. Large masses of strong colors may be grouped 
to accomplish this effect. Special designs may be drawn and 
stencils made, to repeat the decoration innumerable times. 
There is value in repetition. Very good stock designs are 
often picked up in art stores, or stencils may be made by 
drawing designs on heavy Manila paper, carefully cutting 
the exposed parts and varnishing it with several coats 
until the paper is protected. When the varnish is thor- 
oughly dry the stencil may be applied and the colors 
‘“‘tamped”’ over the openings in the stencil with a stiff bristle 
brush. Dry colors, sometimes called coach colors, mixed 
with water and glue size, are used. 

Another artist organization of New York, the Kit Kat 
Klub, has given famous costume dances, called “Skelters”’ 
for many years. ‘he feature of these affairs is a pageant, 
sometimes grotesque, sometimes beautiful, but always origi- 
nal and elaborate. The Kit Kat rules for costumes are 
strictly enforced by a committee at the door. These censors 
inspect each costume and if it is not a sincere attempt the 
wearer is denied admittance. As a consequence, ambitious 
and unusual creations distinguish the annual Skelters of 
the Kit Kats. 

Mythology and legends are favorite themes of this 
society, offering as they do splendid material for spectacular 
and imaginative pageants. ‘“‘A Trip to the Moon” once 
brought out a weird collection of fantastic beings, while 
‘“‘Neptune’s Ball’? was attended by sea gods, mermaids, 
sea horses, lobsters, shipwrecked sailors, jelly fish, water 
nymphs, sea gulls and even several light houses, the latter 
made of card board with electric bulbs lighting the windows, - 
that moved around the dance floor, sometimes dancing 
most appropriately with gray chiffon “fogs.” The light 
houses flashed powerful beams and out of the ‘‘fogs” 
twinkled tiny gleams from pocket batteries. ; 


[ 88 ] 


COSTUME DANCES 





_ The annual costume dance of the Society of Illustrators 
also has a special theme which is carried out with finesse. 
This makes it possible to look back over dances of the 
past and remember each one for its outstanding distinction. 
One memorable occasion, still vivid in the memory of all 
who attended it, was in 1915 at the Hotel Brevoort, that 
quaint old landmark on lower Fifth Avenue, which once 
entertained Edward, Prince of Wales. This spot is 
haunted by the ghosts of more good times, perhaps, than 
any other in New York, since the passing of Delmonico’s. 
What a natural setting and perfect atmosphere the interior 
of the hotel made for the costumes which covered the per- 
iod from 1850-1874! | 

When the invitations to this party were received the 
sentiment was that the costumes would be unattractive, but 
to everyone’s surprise, the effect was stunning. Never 
have all the men looked so fascinating as in those plum 
colored or buff or blue coats, the light Beaver hats and 
stocks and frills, while the feminine portion of the spectacle 
was altogether charming in bustles, hoops, silly little hats, 
demure mitts and all the other frivolous fashions of the 
days when “women were women’’ and the “great open 
spaces” didn’t matter so much. 

The announcement was quite in character with the affair 
—a quaint old decorative type enclosed in a valentine-ish 
pink border, made an old fashioned cover, while inside the 
folder was all the necessary information, suggestions for 
costumes, designed to put everyone in the spirit of the 
affair. To quote it complete will give a perfect picture 
of the ball as it materialized, as well an an excellent ex- 
ample of a costume party invitation or announcement: 

“To the Members of the Society of Illustrators and 
Their Intimate Friends! 

“The Annual Costume Ball of the Society will be held 
at 9:30 o’clock on Friday evening, January twenty second, . 


[ 89 ] 


THE BOOK OF ENTERTAINMENTS 





1915, at the Hotel Brevoort, Fifth Avenue and Eighth 
Street, New York. The entire hotel, including its ball 


at the BREVOORT, 
Jan. 22, 
under the auspices of 
Tae Society or ILLUSTRATORS 





An announcement in character with the affair 


room, dining rooms and corridors, will be given over to the 
Illustrators and their guests for this evening. 


[ 90 ] 


COSTUME DANCES 





‘The Brevoort is almost the last of New York’s historic 
hotels, and the only one which preserves the atmosphere 
of simple exclusiveness which characterized it when the 
grandfathers of the people now past middle life were young 
in their love for gay suppers as well as in years. It is planned, 
therefore, to people the old rooms and corridors with a 
gathering garbed as nearly as possible in the costumes of 
the various periods of fashion through which the hotel has 
passed, and to reproduce many of the famous characters 
of earlier days who were frequenters of the place. The 
period which it is desired to cover lies approximately be- 
tween the years 1850 and 1874. 

“For the sake of fun and variety, it has been decided 
that costumes need not all conform to those worn by the 
fashionables of that period only. In fact, it is desired 
that there should be representatives of the Fnblee walks 
of life as well; for example, the old time lamplighters, 
policemen, cab drivers, et cetera. Leading theatrical 
folk of our father’s and grandfather’s times, as well as 
individual politicians, soldiers, financiers and the like, are 
also in character. Gaiety would be promoted, no doubt, 
by a generous amount of burlesquing. 

“As an indication of the wide range of costume and 
character possibilities, the following suggestions may be 
found helpful; Jay Gould, Bill Tweed, Jim Fisk, Ben 
Butler, P. T. Barnum, Billie Florence, Tony Pastor, Gen- 
eral Winfield Scott, John T. Raymond, Colonel Sellers, 
Edwin Booth, E. H. Sothern (Lord Dundreary), George 
L. Fox (Humpty Dumpty), Patti, Bernhardt, and Fanny 
Davenport. All of these, and many others, figured largely 
in the life of the old Brevoort. Characters from ‘“The 
Black Crook” and ballet dancers of the crinoline period, 
militiamen in uniforms of the ’50’s and ’60’s, foreign dip- 
lomats, old fashioned cigar-store statues—all will be in 
keeping, as will costumes of the hoopskirt and pantalette 


[91 ] 


THE BOOK OF ENTERTAINMENTS 








era and the even more curious ones of the early ’70’s— 
about the time of Captain Jinks of the Horse Marines. 

“Details of practically all the costumes in vogue during 
the period to be reviewed can be found in bound volumes 
of ‘‘Harper’s Weekly” and its illustrated contemporaries, 
on file in the New York Public Library. Those wishing 
to burlesque the old styles will find a rich mine of them in 
back files of ‘‘Punch.”’ 

“Attendance at the ball will be limited to two hundred 
and fifty. Only those in costume will be admitted. No 
tickets will be sold at the hotel, and applications previously 
made, but unaccompanied by funds, cannot be considered.” 

The Kaleidoscopic Ball was given the year futuristic art 
broke out. The Illustrators proved the old Brevoort not 
only had a past but could rise to the Futuristic. The ball 
room walls were covered with a gorgeously dizzy riot of 
lines, curves and color gone mad. ‘The costumes were 
equally wild. 

Three years ago the Society of Illustrators needed a 
larger area for the annual costume dance and Delmonico’s 
was selected because of its atmosphere and traditions. The 
famous old restaurant proved an ideal place for these 
affairs. The first one was called ‘‘So This is Paris!” The 
large ball room on the second floor was used for dancing 
and the smaller ball room on the Fifth avenue side, long 
and rather narrow, was transformed into the Café de la 
Paix and a bit of the famous boulevard it graces. Sitting 
at the small iron tables, on little iron chairs, painted green, 
under the striped awning, and gazing around, it seemed 
as if one were actually in that most popular of all spots 
in Paris—not only for the scenic illusions the Illustrators 
had accomplished—but also because one saw so many 
famous Americans. There were, too, the boulevard 
kiosks covered with posters, gayer than even Paris ever 
dreamed, each painted by a member of the society. 


[ 92 ] 


COSTUME DANCES 





The artists had never put more inspiration into illus- 
trative and magazine masterpieces, perhaps, than went into 
these beautiful, and amusing burlesques of French poster 
art, made to amuse members and their guests for a single 
evening. The kiosks were built of thin strips of lath and 
compo board, and painted, with the posters tacked on the 
six sides. On top of each kiosk was a large red rubber 
ball, eight or ten inches in diameter, a brilliant and colorful 
spot. The walls were covered with posters, typically 
French in tempo, and a striped awning extended over the 
tables on one side of the room. 

The costumes ranged from a workman in blue blouse 
and baggy trousers to belles Parisiennes, artists in smocks 
and velvet tams, gendarmes, cab drivers, boulevardiers, 
soldiers, flower girls, midinettes, French maids, apaches, 
types from Montmartre, French peasants, picturesque folk 
from the provinces, and natives of the French colonies. 

From the gay, sophisticated atmosphere of Paris one 
year to “Circus Day in Main Street” the next, is a far cry, 
but the Illustrators proved that Main street is not as dull 
as it is painted—especially when the circus is in town. The 
artists actually painted Main street in a great mural around 
the four sides of a long ball room, and a jolly Main street 
it was. Every familiar structure was there and looked 
about as large as the original does when one goes back 
from the Big City. 

Each artist selected his own building and gave himself 
a nice little business with his name above the store door. 
“John La Gatta, Florist” had for a neighbor Lejaren a 
Hiller, who made a cheerful spot of the Undertaker’s 
Parlor, while Herb Roth’s ‘Gilded Lily Saloon” was in 
the cartoonist’s happiest vein. ‘The clothing store and 
the drug store were vividly real, while the fire engine 
house, painted by the students of the Society of Illustrators’ 
School for Wounded Soldiers, was so reminiscent to all 


[ 93 ] 


THE BOOK OF ENTERTAINMENTS 





who had lived in a small town that it invariably had a 
group around it, looking at the old fashioned two-wheeled 
hose cart and hand drawn “‘break-her-down”’ engine. 

At one end of the room was the inevitable American 
House, in front of which stood a long table or bar where 
circus lemonade and other soft drinks were served. Small 
tables filled the center of this room. The Ringling Circus 
was in town fortunately and many of the circus celebrities 
attended as invited guests. 

The Town Hall, of colonial design, set back from the 
street, with flanking green lawn, was a beautiful picture 
with humorous touches, painted by Edward Penfield. Then 
there was the Post Office, Opr’y House, the town cobbler’s 
little shanty, the barber shop with peppermint candy stick 
sign and through the door one saw a customer being talked 
to death while having his throat cut. The blacksmith’s 
shop was an attractive social center and the railroad station, 
too, with its wide platform where natives stand to see 
‘“‘Number Six’? come thundering in, hesitate and go on. 
This was the creation of John E. Sheridan, while C. D. 
Williams painted the ornate lunch cart. Fifty illustrators, 
working a few hours, accomplished what had seemed to 
be an impossible undertaking. 

Gay colored circus day balloons were sold by a balloon 
man and when the Wild Man of Borneo gave his war cry, 
with a giant, midgets, real equestrienne, ring master in 
costume and famous clowns romping about, “Circus Day 
in Main Street” left nothing to the imagination. Of course 
a circus is not always at hand to add to the gaiety of parties, 
but there is usually something available everywhere that 
may be embroidered into plans, or plans may be adapted 
to fit some opportunity, or attraction that happens along. 
In the instance of ‘Circus Day in Main Street” a popular 


feature was the ease with which anyone could get up a 
costume. 
[ 94 ] 


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GET YOUR TICKETS BEFORE THE SEVENTEENTH OR YOU'LL BE THE FELLER! 


LAST CALL 


SOCIETY OF ILLUSTRATORS 


ANNUAL COSTUME DANCE 
Wednesday, April roth 
DELMONICO’S from NINE P.M. 
CIRCUS DAY IN MAIN STREET 


EDWARD PENFIELD + + MATOR OF MAIN STREET 
ONLY GUESTS IN COSTUME ADMITTED. COME AS «SMALL TOWN” OR CIRCUS CHARACTERS 











Tickets § Dollars per person (including Supper ), no extras, and tax exempt 


NO TICKETS SOLD AT THE DOOR. NUMBER LIMITED. ACT QUICK 
NET PROCEEDS DEVOTED TO SOCIETY OF ILLUSTRATORS’ SCHOOL FOR DISABLED SOLDIERS 
MAIL CHECKS TODAY TO SOCIETY OF ILLUSTRATORS, ART CENTER, 65 EAST FIFTY-SIXTH STREET, NEW YORK 


OBsicn SY BSRICCcS PLATE BY POWERS PHOTO ENGRAVING COMPANY PRINTED BY TRE MARCHGANES CRESS 


An irresistible final notice 


[ 95 ] 


THE BOOK OF ENTERTAINMENTS 


Such a loophole always should be provided or many 
people will stay away from costume affairs if too much 
effort is required to participate. Overalls and a straw 
hat, a linen duster and some chin whiskers, a gingham 
dress and sunbonnet, made perfectly good costumes for 
those who come as ‘‘Main Streeters.”’ There were bound 
to be many circus costumes to balance the natives, and so 
a variety of types was included. Three-card monte men 
and pick-pockets, stake drivers, clowns, performers, made 
such a big list to select from that getting up a costume 
was little trouble. A wide choice and ease of preparation 
should always be considered in planning a costume affair. 

“The Desert Dance,” which was the 1923 edition of the 
Society of Illustrators’ annual costume party, had the Sa- 
hara for a locale. Here again, allowance was made for 
those who have a costume complex. ‘Tourists were consid- 
ered to be quite in the picture and any man could secure a 
pith helmet, a pair of white trousers and a monocle. Any 
woman, deciding to go at the last moment, could get into 
riding clothes, or a white gown and hat, and sling a Kodak 
over her shoulder and get by. The same room that had 
been turned into Main street the year before, was now a 
colorful riot of burning sands, vivid sky, camel caravans, 
wild riding sheiks on Arabian steeds, mosques and walled 
towns, desert women, water carriers, the pyramids and, of 
course, the Sphinx. 

More murals were painted in the supper room below. 
At one end of the room the walls and roof tops of ‘Tunis, 
and at the other a gorgeous camel caravan painted by 
Dean Cornwell, President of the Society of Illustrators, a 
huge replica in full color of one of his famous illustrations. 

The large ball room, given over to dancing, was deco- 
rated to represent the interior of a sheik’s tent. ‘The walls 
were hung with colorful fabrics, the side lights were dimmed 
by squares of thin silk thrown over the glass shades and 


[ 96 ] 


COSTUME DANCES 








hanging down in points. At one end of the room were 
Oriental rugs, a throne and piles of large pillows. These 
gorgeous trappings were loaned by a theatrical manager, 
being properties from several spectacular Oriental pro- 
ductions, but enough atmospheric odds and ends may 
usually be borrowed from a number of sources. Mummy 
cases and plaster and wooden sphinxes were placed in odd 
corners, wherever an atmospheric touch was needed. ‘The 
square hallway between the ball room and the room of 
small tables was the ‘‘Market Place.” A striped awning 
stretched from one wall to the stairs opposite and little 
booths, gaily decorated, were used merely for local color. 

The costumes were magnificent. It was astonishing how 
many genuine Arab robes and head dresses the occasion 
brought out. Many of the artists had recently returned 
from the romantic country bringing costumes complete to 
the last detail. There were many lions in sheik’s clothing 
and the addition of beards made it difficult for friends to 
recognize one another. 

When a famous dancer did an Oriental dance in the 
center of the ball room, in colored spot lights, and the six 
hundred Arabs and tourists sat in a circle on the floor, it 
was a gorgeous picture. Some feature to bring everyone 
together once during the evening in a grand ensemble 
should always be arranged, for in that way an impromtu 
tableau arranges itself that everyone remembers more 
vividly than moving dancers and shifting groups. 

The annual balls given in New York by the Beaux Arts 
Architects transform enormous high ceilinged ball rooms 
and galleries into rich colorful spectacles, in which luxury 
of color blends with magnificent proportions. ‘The archi- 
tects are resourceful in producing stupenduous effects, and 
when the talents of the craft in New York combine to make 
one splendid setting the achievement is magnificent. ‘Thus 
the architects have annually provided a distinguished 


[ 97 ] 


THH BOOK OF ENTERTAINMENTS 


picture for New York society, and the guests have always 
included representatives of many social groups. 

One of the most gorgeous balls held by the Beaux Arts 
Architects was that given at the Hotel Astor, titled “Ball 
of the Gods,” featured with a pageant, with the gods and 
goddesses of India, Egypt and Greece participating in a 
trilogy. No subject could be selected which offers so 
great an opportunity for .splendid effects as using the 
immortal gods and their satellites as a basic idea. 

While almost any period or country far enough remote 
from every day commonplaces offers an opportunity for a 
costume party, some are to be avoided for one reason 
or another. Nothing of course could be more charming 
than a Colonial ball, but white wigs are expensive to buy 
and in many towns and smaller cities could not be rented 
in numbers. Many men of Chippendale architecture could 
not be induced to wear knee breeches. Hoop skirts, too, 
are scarce and such costumes are difficult and expensive to 
make. ‘There would be no alternative costumes that would 
not be incongruous. Many “period” costumes are heavy 
and elaborate, so the romantic past is being avoided, in 
favor of the modern but romantic corners of the earth. 

France suggests not only the various phases of Paris, 
from the Boulevards to Montmartre, but picturesque Brit- 
tany, Normandy, Picardy, the Riviera and Deauville. Italy, 
the land of the Fiesta, may always be depended upon to 
inspire a colorful array of costumes and a happy atmos- 
phere. China and Japan never lose their novelty because. 
there is so much about them both that is mysterious and 
beautiful. A ‘Japanese Prints” Ball has doubtless never 
been done, but what possibilities there are in the idea ?— 
everyone representing a figure in a Japanese print, the ball 
room decorated with great screens of gold paper, or great 
panels of plain rice paper on the walls—living Japanese 
or Chinese prints would thus be made when Mandarins, 


[ 98 ] 


COSTUME DANCES 





coolies, Manchu ladies, sing-song girls, Chinese actors 
with weird painted faces, stood against the background. 

Dancing might be stopped long enough to permit posing 
of groups, and prizes might be offered for the most effective 
living print. | 
_ Spain, India, Persia, Turkey and Arabia are also good 
costume countries. Illustrated books on travel, and the 
magazines Travel and National Geographic, contain 
fine pictures of far off places suggesting many locales for 
costume parties. 

It is a mistake to use an idea, however clever, known only 
to a few and not universal. The newspapers are therefore 
worth watching for suggestions reflecting as they do popu- 
lar thought and tendencies. Today’s paper may contain 
a news item introducing a subject which will long continue 
in the public mind. 

Almost everyone has attended a small costume party 
where the guests dressed as children, and such a party has 
yet to be given that was not a hilarious success. For a 
large ball this is not altogether practical, but along the 
same line of juvenile inspiration is a “‘Noah’s Ark Ball,” 
with painted mural decorations of burlesqued animals, 
houses and trees. Or, again, with the present craze for 
character and art dolls a “‘Doll’s Ball’ would be amusing. 
The decorations for this occasion might be the gaily painted 
houses of toyland. While the guests would be expected to 
come as dolls, almost any fancy costume would fit into this 
mise-en-scene. 

“Suppressed Desires’? formed the basis for a sophisti- 
cated party where guests arrived typifying the things they 
had always longed to be. Now there may be nothing 
inherently humorous about a chorus girl, but when a sedate 
business man—a pillar in the church, a confidante of half 
the town—suddenly appears bedizened as the ingenue from 
“The Pink Slip” the party is bound to start with a shout. 


[ 99 | 


THE BOOK OF ENTERTAINMENTS 





Once a large group starts laughing the seal of approval 
is firmly fixed. 

Pirates! The Spanish Main! Pieces of Eight! Gal- 
leons! Black Flags with Skulls and Cross Bones! Desert 
Islands! Surf Swept Reefs! Caves! ‘Treasure Chests! 
Maps (burlesqued) of Hidden Loot! 

Could a ‘‘Jolly Roger Ball” fail to thrill the imagination? 
Who wouldn’t adore being a pirate for just one evening? 
Guests would ‘‘Walk the Plank” to get in. What matter 
if the scenery be but “‘a painted ship on a painted sea,” 
and that the body hanging from the yard arm or gibbet 
be merely a dummy? The rollicking atmosphere would 
be reproduced to show a pirate’s life a picnic from “Yo, 
ho, ho!” to a bottle of ginger ale. 

The pirate party also suggests a way to circumnavigate 
those persons who come without fancy costumes and who 
for one reason or another gain admission. In spite of 
all efforts on the part of the committee to enforce the 
rules, there are invariably a few exceptions which have to be 
made. At a pirate gathering they could be quickly converted 
into “‘dead men.’ Shrouds of black cheese cloth, decorated 
with skull and cross bones could be made in advance for 
trifling cost and sold at the coat room for such emergency 
visitors as had failed to arrive with costume. 

There is probably no question that arouses such criti- 
cism of a costume party as the presence on the floor of 
persons in evening clothes—especially men. ‘The line be- 
tween a woman’s evening and fancy dress is not so sharply 
defined. It is unfair to the majority who make the effort 
to appear in good costumes, and so contribute to the color- 
ful gaiety of the evening, to find that a few are privileged 
to enjoy the party without attempting to conform to its 
scheme. Taken to task for allowing it the committee 
wearily explains the reasons why it permitted exceptions. 
Two of the black garbed conventional figures are private 


[ 100 ] 


/ 


COSTUME DANCES 





detectives, others are newspaper men covering the event, 
and so on. However, it is impossible to go about explaining 
to everyone why exceptions were made in individual cases, 
so it is well worth while, if possible, to have a few extra 
costumes, however simple they may be, on hand in the 
dressing rooms. 

These may be arranged for with a costumer and a small 
charge made for their use by the wearer. Or they may 
be colorful strips of fabrics, for turbans and flowing robes, 
held in place with safety pins. Of course, this is, in a way, 


encouraging the negligent to come without fancy costumes 


and pampering them unduly, but on the other hand there 
seems to be no other method of dealing with the problem. 

The practice of charging an extra price penalty for ad- 
mission in evening clothes does not work successfully. It 
simply increases the number in evening clothes and the 
costumed dancers are annoyed by these conventional figures 
having a good time at no expense of their own dignity. As 
one indignant member of a club said: “I don’t mind dress- 
ing up like a darned fool if everyone else does, but what I 
resent is these blackbirds getting a laugh on me. I don’t 
propose to play clown for their benefit.” 

The following sequence of planning a costume party 
has been found practical in allowing time for all details 
to be consummated. (1) Deciding upon idea for deco- 
rations and costumes. (2) An approximate date should 
be selected at least eight weeks in advance. (3) Arrange- 
ments should be made for place and for music. (4) An- 
nouncements, invitations or posters should be started 
at least five weeks before date of party. (5) The first 
notice should be sent out not later than three weeks prior 
to event. (6) Publicity should be started simultaneously 
with first announcement. (7) Tickets should be on sale 
from the time first notice is mailed. (8) Applications for 
permits, licenses, etc. (if required in the locality) should be 


[ 101 ] 


THE BOOK OF ENTERTAINMENTS 





filed two weeks before event. (9) All features engaged 
and decorations definitely planned. (10) Volunteer 
workers should be engaged, catalogued and their work 
specifically defined. 

These various details are taken up at length under 
special chapters such as Printing, Tickets, Decorations, 
Arrangements, and Publicity. ‘The casual impression may 
be gathered that the various ‘“‘do-s and don’ts” are much 
ado about obvious times. But, in what may seem a simple 
matter of giving a party, it has been found that neglect of 
certain trifles may lead to complications and that the ob- 
vious is often so obvious that it is in danger of being over- 
looked entirely. 


[ 102 ] 


CHAPTER IX 
CosTUMES 


“There was a young artist named Paul 
Who went to a fancy dress ball 
He thought ’twould be fun 
To go as a bun 
*Till a dog ate him up in the hall!” 


Another young man had his evening ruined by getting 
himself up as a Ford. Bristling with tin, he was a menace 
to other dancers and was forced to retire to the side-lines 
and pose as an accident. Everything considered, these two 
masqueraders would have been better off if they had gone 
to a professional costumer. 

But even at the costumers, the novice in these matters 
may make an unsuitable selection. ‘There are fashion 
changes in fancy dress, as in everything else; and many fan- 
tasies, which might appeal to the inexperienced, are really 
obsolete. ‘Once a good costume, always a good costume,” 
seems to be the tradition among those who have been for 
many years in the business of renting ‘‘masquerade”’ dis- 
guises. Of course those firms which have gone in for 
theatrical and moving picture costuming are up-to-date in 
their ideas of what constitutes a modern fancy dress. But 
it is the well meaning, trying-to-be-helpful attendant, in the 
employ of the firm for thirty years, whom one must not 
trust blindly, if choosing a costume for the first time. 

“This costume, here, has always been my favorite,” ex- 
patiates one veteran wardrobe woman. ‘‘Such a pretty idea, 
representing ‘Night’—black, with gold stars in all the con- 


[ 103 ] 


THE BOOK OF ENTERTAINMENTS 





stellations. Here’s the big and little dipper! The head- 
dress that goes with it is a bandeau of gold stars with a 
silver moon in the center.” Some day she may rent that 
costume to a trusting brunette, who will wear it to a smart 
party and wonder, like the query in the etiquette book: 
“What is wrong with this picture?” 

Another of these antiquated creations appeared at a 
recent ball and was conspicuously outré. It was the atrocity 
known as ““The Clock,” the white satin circular skirt bor- 
dered with the hours, while the hands pointed downward 
from the waist. Among these stereotyped costumes to be 
avoided are “Columbia,” “Uncle Sam,” ‘“Mephistoph- 
eles,” Queen of Hearts,” “Knave of Clubs,” “Folly,” 
“Ben Hur,” ‘Queen Elizabeth’’— the list is long. Animal 
costumes, however amusing they may seem to be, are also 
to be side-stepped, as they are hot and uncomfortable to 
wear. 

Among the desirable costumes are the native dress of 
various countries, Oriental effects being always the most 
popular. Pierrots and clowns, while not especially original, 
are in demand, being comfortable and easy to don. There 
is usually an assortment of unusual creations of no par- 
ticular country or period, designed for theatricaf produc- 
tions, to be found at those establishments which specialize 
in stage costuming. 

Sometimes late comers find the choice exhausted and 
this is when the old atrocities are brought out and even the 
most fastidious is tempted in desperation to take one. But 
from the odds and ends to be found in boxes and drawers 
and cupboards, a really attractive get-up may be assembled. 
A gay tunic—a pair of Turkish trousers or skirt—some 
bright scarfs, a Spanish shawl, a stunning head-dress, none 
complete in itself as a costume, but combined with some- 
thing one may have at home will do very well. The cos- 
tumers are always tolerant of patrons poking around 


[ 104 ] 


COSTUMES 








among their colorful raiment and these costume frag- 
ments are rented for much less than a complete outfit. 

Many persons supplement their own costumes with some 
one article required to complete an effect. Rental prices for 
costumes range from $2 to as high as $50 for very perish- 
able, very new and very gorgeous creations. The rental 
charge for the average costume, however, is around $5 to 
$10 for an evening’s wear. 

On the score of cleanliness there is no cause for prejudice 
against the rented costume in these days of sanitary 
cleansing. The reliable establishments live up to the strict- 
est rules in this regard. 


How to Assemble an Impromptu Costume 


Without attempting to suggest original or complicated 
creations there are any number of passable costumes which 
may be devised in a few moments out of such articles as 
may be available. Indeed impromptu effects are usually 
worn by those very sophisticated in fancy dress. Among 
those suitable for men are: 


Pirate—A pair of dark trousers, a white shirt with 
- sleeves cut off at elbow or above, neck turned 
in comfortably low. Wide, bright colored sash 
around the waist, bandana or scarf (red or 
orange) tied pirate fashion on the head. For 
ear-rings, two brass curtain rings, fastened on 
with threads. High boots with huge cuffs add 
to the picture. So, too, does a fierce horse- 
shoe shaped moustache. A charming touch is 
the red imprint of a hand on the back or sleeve 

of the white shirt. 
Mandarin—Long Chinese kimono, plain or embroidered. 
Close fitting cap may be made of Chinese table 
mat or the top of a black stocking gathered, and 


[ 105] 


THE BOOK OF ENTERTAINMENTS 


from the center a dangling tassel, stolen from 
a lamp cord. Also, a typical Mandarin hat 
may be easily made, as described farther on. 

Chinese Coolie—Full blouse, or tunic hanging loose, wide 
pajama trousers. A flat, light-weight straw tray 
or shallow basket makes an excellent hat with 
narrow ribbon or elastic fastened to each side 
of the brim and passing under the chin. A queue 
may be made of black yarn, braided. 

Sheik—A dressing gown makes the basis for this as well 
as other Oriental costumes. A length of white 
or gaily striped fabric arranged to hang each 
side of the face and floating loose in the back 
makes a desert head-dress. Darkened skin, with 
a black beard, completes a really stunning effect. 

Persian—Long tunic or robe with sash around the waist. 
Twisted turban. In a very gorgeous assembly 
of costumes a make-up that stood out as par- 
ticularly stunning was a long black dressing gown 
worn with a high turban of lavender from which 
a narrow pheasant feather swept upward. (The 
sort of dressing gowns presented at Christmas 
by rich relatives may make the foundation for 
many Oriental costumes.) 

Paris Art Student—Smock, or velvet jacket. Dark or 
checked trousers. Black velvet tam. Wind- 
sor tie. 

Englishman—Riding clothes or white suit, pith helmet 
or checked cap, monocle, Dundreary moustache. 

Rube—Overalls or linen duster and baggy trousers. 
Straw farm hat. Red bandana handkerchief 
knotted around the neck or low collar and loud 
tie. Chin whiskers. 

Coster Suit—A discarded pongee, linen or Panama suit 


[ 106 ] 


COSTUMES 





dyed any brilliant color. Large pearl buttons 
decorate the coat. Old straw hat painted to 
match, or in striking color contrast, with ribbon 
or narrow band of leopard skin is whimsical. 


Pierrot—When this familiar personage appears at the 
ball in a suit of white pajamas with black pom- 
poms down the front of the coat and a black 
ruff around the neck and a stocking top on his 
head, accentuating the clown-white face, with 
spots of rouge and black pencilled brows, no one 
suspects the utilitarian origin of his raiment. 


ae Fair Cowboy—Like Paul of the limerick, the 
originator of this costume was a young artist, 
but he got away with it and made the hit of the 
evening. In place of the usual ‘‘chaps” were 
cascading ruffles of black lace and black lace 
frills adorned the cuffs of a pink striped shirt, 
the sleeves further ‘‘ornamented”’ with light 
blue silk ‘“‘armlets.’’ ‘The sombrero was, in this 
case, a “picture hat’’ white crinoline frame, 
around the crown of which was a wreath of 
flowers. 


The man who has never been to a costume party or 
considered the possibility of devising a fancy dress might 
pass up an invitation if circumstances did not permit of his 
getting a “regular” costume. But after one has tried 

“rolling his own” one finds that these and scores of other 
scrambled together make-shifts are very successful and 
adequate. 

Every woman has the ‘‘making’’ of many decorative 
and becoming whimsies among her possessions—scarfs, 
yards of fabrics, old evening gowns, beads, tassels, lace and 
fringe. If she has not just the thing at hand to make a 
harem lady, a gypsy, an Oriental dancing girl or circus per- 


[ 107 J 


THE BOOK OF ENTERTAINMENTS 


former, there are stunning materials at a trifle a yard. 
Costumes do not have to be ‘‘made”’ in the sense that a 
dress has to be cut, fitted and sewn. In fact, if it is made 
by pattern the effect is that of a dress and not a fancy 
costume. ‘The most artistic effects just seem to happen. 
These hints are for ‘“‘last moment” contrivance and for the 
encouragement of those who couldn’t cut and make a 
real dress and therefore might hesitate about attempting 
a costume, and like Flora McFlimsy, stay away because 
they had “nothing to wear.” 

It is only the inexperienced who lack confidence. If one ° 
has never attended many of these carnivals an exaggerated 
idea of what constitutes a good appearance is apt to be 
intimidating. The same scrutiny is not given the make- 
believe raiment that an evening gown may call forth from 
appraising and critical eyes. If it is becoming and colorful 
and a bit bizarre—the effect is a success, even though it 
is uncut yards of fabric held together by safety pins. 

Harem Lady—Turkish trousers, (See Pages 110 and 

111) are the easiest things imaginable to con- 
struct. Any sort of tunic, blouse, or lengths of 
material draped and pinned makes the upper 
portion of the costume, with a girdle tied low — 
on the hips. A head-dress of hanging veils. 
Harem costume may be made of a very long, 
spangled or brocaded scarf draped over a silk 
slip. Decorative ear-rings, beads, bracelets. 

Pierrette—A modernistic version of this always popular 

character may be made from a simple evening 
gown with very shortened skirt, a very wide 
and crisp maline ruff around the neck, fitting 
tightly around the ears and under the chin, 
ruffs at the wrists and a tall cone-shaped cap. 
In light blue this is most charming on a pretty 
blond. 


[ 108 ] 


COSTUMES 





Chinese Girl—Suit of silk pajamas. Instead of the pa- 
jama coat, a short embroidered Chinese kimono 
may be worn. Flat coolie hat. Several simply 

* made designs are described on Page 112. 


Japanese—The old type of Japanese costume is rarely 
seen, or if the long kimono is worn, the eternal 
bunch of flowers at each ear is eliminated 
in favor of a head-dress adorned with many 
long pins. These pins may be made of card- 
board—cut very narrow and the flat ‘‘knob”’ at 
the top about the size of a quarter. Paint black 
and shellac several times. 


Spanish Vamp—A Spanish shawl (of course the shawl 
must first be captured) draped over one shoul- 
der; a short or long, but very full dark skirt. 
A petticoat of black taffeta, if one owns such a 
relic, is splendid. Hair arranged Spanish fash- 
ion with comb. A rose tucked over one ear. 


Snake Charmer—Grass cloth or a woven grass table 
runner makes a South Sea Island snake enchant- 
ress. This garment, in one piece, is devised as 
little girls make a doll’s dress—a hole cut for 
the neck in the center and sewed down the sides, 
leaving arm holes. Paper snakes, which may 
be bought at any Oriental store, are sewed over 
the surface, furnishing decoration and color 
(green and brown). Snakes make a turban- 
like head-dress. A grass basket, filled with 
brilliant tropical flowers with more snakes 
hanging over the sides, completes a costume, less 
gruesome than it sounds. 

Circus Rider or Ballet Costume—This crisp little conceit 
may be put together for less than three dollars. 
A low cut bodice lining in silk or sateen may 


[ 109 J 


THE BOOK OF ENTERTAINMENTS 


be purchased at any ‘‘notion” counter, in black, 
or white. The white may be dyed to match the 
skirt. ‘The latter consists of many thicknesses 
of tarletan, gathered as full as possible, and 
sewed to the bottom of the bodice. Tarletan 
comes in a wide range of brilliant colors and is 
particularly popular for costumes. ‘The price 
is around twenty cents a yard. It combines with 
any material and skirts of it are especially effec- 

tive with bodices of gold and silver cloth. 
Italian Peasant—Another use for the “ready made” 
lining bodices is in starting an Italian peasant 
costume. On a black bodice gather a full, short 
skirt of bright blue, black, or red sateen. Gay 
Deauville scarfs, bandanas or squares of bril- 
liant figured silk or cotton make head-dresses, 
apron and neck kerchief. Ear-rings and beads. 
Mediaeval—The unusual and stunning head-dress makes 
this costume, which may be any straight up-and- 
down evening gown or flowing robe. The long 
pointed head-dress fits the head snugly. A 
foundation of the stiffest crinoline, or even 
pasteboard of a flexible quality is covered with 
any desired material, gold or silver paper, cloth 
of gold, etc. Gold “art” oilcloth might be used 
over a light wire frame. Over this throw a long 
veil of gold net, tarletan or mosquito netting. 
The latter is very gorgeous if circles of gold are 
painted at intervals, a large dot of black paint 
in the center of each gold spot. 
Turkish Trousers—The Oriental wearer takes a very 
wide and long piece of material, holds one end, 
loosely gathered at the front waist line, hed 
other end drawn between the feet and up to the 
waist where, by a dextrous trick the long end 
10° | 


COSTUMES 





wraps around, forming a girdle and pulled 
tightly to hold the “trousers” in place firmly. 
The folds are so full that they overlap on the 
sides making a seam unnecessary. However, a 
feeling of greater security will be obtained by 
running a rubber elastic through a narrow hem 
at the top of the trousers. The sides may be 
closed by a seam, allowing an opening at the 





The first and second steps in making Turkish trousers before sewing up 
the sides 


bottom for the feet to stick through. Two 
widths of material should be sewed together to 
give the required fullness since cloth is rarely 
over forty inches wide. Garments made with 
separate legs are not real Turkish trousers, but 
are bloomers, pantalettes, etc. 

Bodice—A length of soft material, or a chiffon scarf 
makes a very satisfactory bodice by pinning to 
the skirt and winding snugly around the body 


ri] 


THE BOOK OF ENTERTAINMENTS 


high as the armpits, tucking in the end and pin- 
ning. Shoulder straps may be pinned on if one 
is of a nervous temperament. 

Chinese Hat—Starting with a large circle of pliable card- 
board, a single cut is made to the exact center. 
One side is lapped over the other just enough 
to give a slight conical shape. Each edge over- 
lapping segment is fastened with paper fasten- 
ers, the small brass heads on the top and the 
two pin ends spread flat underneath. Paint with 
water colors on both sides. Shellac gives a 





Chineee hats and Pirate boot 


lacquered effect if desired. To the peak a 
cord and tassel is added and a narrow ribbon 
or elastic band attached to either side of the 
brim to be worn under the chin, holding the hat 
firmly on the head. A round Japanese straw 
mat also makes a good hat, and may be shaped 
in the above fashion. A small round hat made 
of a band of crinoline covered with silk and 
tassels to dangle over the ears or one from the 
center of the crown is quite Chinese in spirit. 
Turbans—There are so many ways to wind a turban, all 
of them good, it is strange that it is considered 
a difficult art or trick to arrange one. If the 


[112 J 


COSTUMES 





material is long enough and soft enough, it is 
almost impossible not to twist it effectively 
around the head, into a perfectly good turban. 
A turban should never be ‘‘made’—if put on a 
frame it becomes a hat, not a turban. If sewed 
it will be stiff and not fit the head snugly. A 
genuine turban must be wound or wrapped on 
the head. Three yards of fairly wide material 
that is soft enough to make graceful folds should 
be used. 

Beginning with the center of the material 
make a deep fold and place center of the goods 
across the forehead, allowing the remaining 
width which covers the top to fall back over 
the head. Gather material in each hand and 
tightly draw to the nape of the neck, change 
hands, not allowing the material to get loose 
as it is drawn again to the front. Repeat this 
until material is short enough to tuck each end 
under a fold—pin, if it does not seem firm 
enough. If the turban looks too tight, the folds 
may be carefully puffed out. 

Pirate Boots—These may be made of black oilcloth or 
patent leather cloth, as it is sometimes called. 
They are cut straight to the desired length with 
a flare at the top. The flare should be cut 
deep enough that it may turn in, so that when 
the cuff is turned back it will not only have the 
desired weight, but also bring the shiny surface 
on the outside. The wide flopping tops may 
be made separate from the leg part and stitched 
on. To hold down, a strap should be securely 
fastened to each side to fit snugly under the 
instep, near the heel. The leg may be shaped 
in, near the ankle, but not too tight to allow 


[ 113 ] 


THE BOOK OF ENTERTAINMENTS 








the foot in a shoe or slipper to go through 
without tearing. Russian boots are made like 
the above only the turn-down cuff does not flare 
and is made of bright red oilcloth. 

Wool Yarn Wigs—These are very popular additions to 
certain types of costume, especially those of a 
fantastic and imaginative character. Also for 
Egyptian effects. A high note of color may be 
introduced in this way. [he bobbed wig is 
made on a foundation skull cap of coarse mesh 
scrim by drawing in strands of the wool, start- 
ing at the edge and working toward the center. 
The wool should be cut longer toward the top, 
that it may be of equal length when finished. 

- Otherwise it will look like a shaggy “hooked” 
mat. Another way of getting practically the 
same effect at possibly less trouble is to sew 
all but the top layer to the crinoline cap. It 
is well to make the wool strands long enough 
to trim into any desired “‘cut’’ when the wig 
is put on. 

A coiffure may be made by winding and sew- 
ing strands around a foundation with a large 
puff or knot on top of the head. Braids may be 
made by drawing the wool smoothly over the 
foundation, sewing securely through the center 
from front to back, like a parting, and drawing 
the strands loosely together and braiding. 
Emerald green, blue, orange, purple and ver- 
milion are favorite colors for these fantastic 
tresses. 

Costume Materialsk—The new art oilcloths are pliable 
enough for costumes and many wonderful crea- 
tions are made entirely of them. Again, this 
fabric is combined with others. Designs may 


[114] 





Photo by Underwood and Underwood 
Lejaren 4 Hiller in a clever but simple costume. Oriental effects are 
always popular. (See page 104.) 


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COSTUMES 








be painted on the oilcloth with oil colors, with 
gorgeous results. Wool wigs are stunning with 
oilcloth costumes. 
Taffeta and crepe de chine are the silks most 
used, as velvets and satins, for some reason, 
are not considered good fancy dress material. 
Figured cretonnes, sateen and tarletan are 
among the favored cottons. For veils, flowing 
sleeves and draperies nothing equals georgette 
and chiffon. Maline is used for ruffs, though 
tarletan does quite as well and keeps fresh and 
crisp longer. | 

Ear-rings—No fancy dress is complete without a pair 
of bizarre ear-rings. The shops have a vast 
choice of these ornaments. When one sees a 
pair of particularly wild ones marked “fifty 
cents” or “‘a dollar’’ it is advisable to buy them 
for they will come in handy for a costume party. 
Doubtless that is what many of them are de- 
signed for, as no sane person could imagine 
wearing some of them elsewhere. But, for a 
fancy dress occasion they are thrillingly ap- 
propriate. 

~Whiskers—The part played by a pair of wild ear-rings 
in a woman’s costume, a facial decoration of 
moustache or whiskers plays in a man’s fan- 
tastic make-up. Material for making these 
masculine ornaments may be bought at a drug 
store, wig maker’s or theatrical supply house. 
Many drug stores in cities specialize in all 
sorts of theatrical make-up. The artificial 
hair comes in small tight braids in any desired 
shade. When unbraided, if wet in water and 
smoothed out, the kink comes out quickly, 
and the hair may be trimmed to suit. 


[115 ] 


THE BOOK OF ENTERTAINMENTS 








Spirit gum is used to stick on the hair and it 
may be removed with alcohol. 


There is a free masonry about costumes, which permits 
friends, even mere acquaintances, asking the possessor 
of a costume treasure to loan it for an occasion, and 
as casually as the request is made as cheerfully is it granted. 
Somewhere, involved in the transaction, is a compliment for 
both parties, it is tacitly understood. 

“If you are not going to wear your Chinese costume, 
may I borrow it?’ demands Miss Queue. 

‘“‘Why of course!’ declares Mrs. Knue, “I’d be delighted 
to have you wear it. I have another costume I’m going 
to wear, so you are more than welcome to the Chinese out- 
fit. It really is a nice one—I bought it in China, you know.” 

“Yes, I know. It’s quite the nicest one I’ve ever seen.” 

Perhaps Miss Queue returns the costume, after a pleas- 
ant evening’s wear, within a reasonable time. And perhaps 
she doesn’t. It is a curious fact that many persons regard 
a borrowed costume as something distinct and apart from 
the usual procedure of returning borrowed articles. A 
fancy dress may be sub-loaned, ruined or lost with no 
feeling of responsibility or apologies. It is often con- 
sidered rather a good joke on the owner. 

“Ha! ha! I lost the head-dress, but here’s the rest of 
it!’ blandly says one borrower. “My, that was a wonderful 
party!” 

‘‘Here’s what’s left of your costume,” giggles the flapper. 
‘You are lucky to get even that much. Thanks for letting 
me wear it.” 

Or, 

‘I loaned your Egyptian dress to a friend—hope you 
don’t mind—but I was so busy I didn’t have time to get 
after her to send it back—and then, she went to South 
America suddenly, and of course I feel perfectly awful 
about it and just don’t know what to say to you—” 


[116 ] 


COSTUMES 





This casual attitude toward borrowed plumage is not 
in exceptional cases but so general that a word may not be 
amiss on the etiquette of the subject. The costume should 
be returned promptly and with some enthusiasm. Usually 
it is with a bored: ‘‘Oh, here’s your costume—I meant to 
return it long ago—it really got on my nerves seeing it 
hanging around so long, but I just couldn’t seem to get 
time. Today, though, I made an effort—and here it is—” 
‘Che owner feels apologetic about the trouble the borrower 
has had returning it. 

Moreover, the garments should be returned in good con- © 
dition. If torn during the festivities of the occasion, they 
should be expertly repaired. If soiled, they should be sent 
first to the cleaners. Above all, a borrowed costume 
should not be sub-loaned. 

However, everyone does enjoy loaning a costume to a 
friend even if it means, ‘‘Goodbye, costume!’ Those who 
make a new creation for each affair should save previously 
worn ones in a chest for loaning purposes. Some cos- 
tumeless soul will happen along who must be fitted out 
for an evening. 

In planning an ocean voyage, or a sojourn at a resort 
these days, it is well to include a fancy dress in the ward- 
robe. On the South American liners especially, costume 
parties are always given during the voyage. 

But whether a costume is rented, made, borrowed or 
stolen, it should be two things, comfortable and becoming, 
or comfortable and amusing. 


[117] 


CHAPTER X 
CHARITY BAZAARS 


In recent years there has been a radical change in bazaar 
fashions. Formerly every booth committee worked out 
its own scheme of decoration and the result was many 
unrelated units producing a jumble of incongruities and 
clashes of color. A Japanese pagoda in juxtaposition to 
an Igloo and an Ann Hathaway cottage rendered none of 
them convincing. 

The modern bazaar has an underlying general motif 
carried out harmoniously by each attraction with the re- 
sult that a beautiful picture or illusion is created. The 
effect is made more beautiful, more colorful, by the re- 
straint, because a little splash of one color here and a little 
dash of another color there produces a neutralizing effect, 
whereas large masses of complementary colors are com- 
pellingly impressive. 

Since everyone is not endowed with an artistic sense, 
conforming to an accepted plan prevents the rich and gen- 
erous Mrs. Bones making a blot of expensive dowdiness 
of her stronghold, the big center booth. 

Just what may be done in the way of decoration depends, 
of course, on the size of the bazaar, the location, and the 
approximate number of persons who may be attracted. 
But whether it is a little fair in the church parlors of the 
small village, the large fete in the armory of a prosperous 
town, a bazaar in a huge arena in a large city, all are made 
interesting not by the amount of money which may be spent 
but by the scheme and the artistic manner in which the plans 
are carried out. 


[118 ] 


CHARITY BAZAARS 








The uniform decorative idea not only brings harmony 
out of bazaar chaos, but is an economy. A repeated de- 
sign used to tie up many units is more cheaply executed 
when made in quantity than would be an equal number of 
varied designs. So, too, bolts of material may be bought 
to use throughout the decorations, whereas if each booth 





A compo board front for a flower stand 


purchased independently a few yards of a great variety of 
colorings, the advantageous quantity price would not be 
obtained. 
Supposing the motif were an English village. Many 
little house fronts, for booths, might be cut from compo 
_or wall board, in large numbers from one pattern. Though 
_ uniform in design, variety may be given by the arrange- 


[119] 


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ment of doors, windows, in painting, with the addition of 
painted vines, or flower boxes, thatching some of the roofs, 
putting tiny fences and hedges in front of others, or any 
details that make rows of little village houses individual. 
If, on the other hand, every house (or booth) were planned 
to represent a specimen of the architecture of a different 





A compo board front for a doll booth 


nation, each would have to be worked out with the same 
care given the original model and cost would pyramid 
accordingly. 

While many bazaars carry one repeated form of booth 
around the sides of the walls of the enclosure and introduce 
incidental attractions in the large center space, another type 
of the uniform bazaar has each booth distinctly different 


[ 120 J 


CHARITY BAZAARS 





in character and decoration, yet conforming to the basic 
theme, or atmosphere. For example, if Paris furnished the 
inspiration there would be no sacrifice of unity if attrac- 
tions were strikingly individual in treatment, provided all 
were typically Parisian phases. A French hat shop might 
be placed next an awninged flower market, beyond which 
a colonnaded arcade might harbor many small “shops,” 
a sidewalk cafe for refreshments might have as neighbor 
features of Montmartre, and, to fill in a long space, a high 
wall covered with posters might make a background for 
articles displayed in stalls with tiny awnings. 

The less pretentious fair or sale offers an equally wide 
scope for originality. To concentrate and specialize on 
some one thing affords opportunities to carry out charm- 
ingly distinctive ideas, without employing the atmosphere of 
“fall the Eastern Nations and Greece.” 

For instance, a ‘‘Handkerchief Bazaar” was given by the 
women of a church society in a small town. A most subtle 
scheme, by the way, for who wouldn’t contribute a hand- 
kerchief? The astute ladies wrote far and wide to friends 
and relatives, suggesting the ease with which donations 
might be sent in an envelope, thus trading on the human 
aversion to do up and mail parcels. With this tiresome 
detail eliminated the response to the appeal was astonishing. 
A perfect avalanche of linen squares, in every variety, 
poured in. ‘Those who could make fancy colored ones 
with drawn work and embroidered corners responded nobly, 
and those who couldn’t thought of the modest appeal when 
they passed the fascinating counter where the dainty trifles 
were displayed for sale at no serious tax on the pocketbook. 

There were tables for the close friends of handkerchiefs 
—perfumes, handkerchief cases and boxes, powder puffs, 
powder and vanity bags. There were bandanas and large 
brilliant squares used for head and neck ornament. 

The room where the sale was conducted was trans- 


[121] 


THE BOOK OF ENTERTAINMENTS 





formed into a “back yard’? with evergreens, white picket 
fences, morning glory vines (made of paper) and the 
handkerchiefs were displayed on clothes lines, each square 
fastened with toy clothes pins. 

No longer is the public bored in the name of charity by 
an endless array of stupid wares, which no one could 
possibly want and which were purchased with the slight con- 
solation »that they might be given away for Christmas 
presents. But one can no longer pass on, even as a gift, 
a “hand painted” flatiron holder or a weird contrivance of 
plush and ribbon to hold a whisk broom. So, the naive 
‘Sale of Fancy Work” has passed into Limbo, and in its 
place has come the fete that is a combination of circus, 
Monte Carlo and the Rue de la Paix. The crowds now 
attend, not merely from a sense of duty, but because 
assured of a brilliant spectacle, novelty and amusement. 

Another reform has removed the old reluctance to attend, 
since it used to be “nothing to get in—but your last cent 
to get out.” Nowa small admission fee is charged, twenty- 
five, fifty cents, or a dollar, which entitles visitors to roam 
about without being importuned to buy by too insistent 
saleswomen. ‘The attractive vendors do not attempt to 
sell their wares beyond bounds of legitimate salesman- 
ship. Rarely does one encounter the coy highwaywoman 
who keeps the change from a ten dollar bill for a fifty cent 
purchase. 

Among the booths, which have always been popular fea- 
tures of bazaars, are those devoted to the sale of flowers, 
candy, dolls and other toys, fancy bags, hats, cakes and pies, 
handkerchiefs, pottery, fancy boxes, lace, books, antiques, 
lamp shades, etc., but to this traditional list have been 
added all sorts of novelties catering to current fads and 
wants. The “‘sports” booth, for instance, is an important 
addition of the past years. Here one finds equipment for 
all the out-door activities. Stunning sweaters find a ready 


[ 122 ] 


CHARITY BAZAARS 





market, while the sporting goods offered for sale prove a 
magnet for men buyers. 

A section devoted to the sale of birds, puppies and 
kittens is a modern innovation. Fancy bird cages are very 
popular and most people find little bird houses for ‘‘wild”’ 
tenants irresistible. Persons, clever with tools, may be 
persuaded to make these affairs. 

Mah Jong is another recent comer, and, while it con- 





An easily constructed stand for the display of small trinkets 


tinues a novelty, will be a popular bazaar item, instruction 
in the game being given with every set sold. 

A table devoted to ear-rings of unusual design and low 
prices is sure to have a feminine appeal—for no wearer of 
these artistic danglers can resist buying ‘‘another’’ pair. 
Fancy bottles are a fad and plain glass ones may be 
decorated with brilliant dots, designs or painted in solid 
_ color with enamel paints, which may be bought at art stores 
in small tins. 


[ 1238 ] 


THE BOOK OF ENTERTAINMENTS 





Dinner place cards of all sorts are pounced upon if they 
are pretty and original. Funny little figures, made of paper, 
and fastened to cards are seized upon by hostesses. ‘These 
figures are described in the Chapter on Decorations. 

What may seem to be a prosaic sort of booth is one 
devoted to the sale of ‘‘useful” articles, but the convenience 
of running across small household implements without a 
trip to the basements, hardware stores, or wherever the 
can-opener and egg slicer must be hunted down, catches 
many a dime or quarter. MHbour-glasses, which may be 
bought at a certain national institution for ten cents, may 
well sell for twenty-five cents, because while one might 
have aspired to an hour glass for years, a special pilgrimage 
in search of one would rarely be undertaken. ‘There are 
all sorts of other marvellous contrivances which may be 
bought for five or ten cents at the emporiums where the 
nickel and dime are financial kings. 

A beauty parlor, too, if well conducted, is a money mak- 
ing feature. Advice is given by an expert and articles sold 
with which to carry out the advice. Cigarettes, for some 
reason, are bought in greater quantities when attractive 
vendors circulate with trays. Nosegays, confections and 
balloons are especially adapted to basket and tray salesgirls. 

Tea-table fittings—caddies, tea-kettles, cream pitchers, 
lemon dishes, cups and saucers, sugar tongs, tea cloths and 
serviettes, fancy trays—make an attractive display and find 
a ready sale. 

It has been found that flowers are more eagerly bought 
when made into bouquets for various prices, than when left 
in large masses and sold by the dozen. Old fashioned 
bouquets are always liked. All sorts of color combinations 
should be worked out by those who have an eye for color 
and arrangement. ‘There is also less chance for waste if 
the flowers are made up in advance, than is the case when 
stalks are pulled out of a large bunch in the haste of fill- 


[ 124 ] 


CHARITY BAZAARS 





ing orders. Buying plants and putting them in attractive 
pots or dishes realizes a large profit, for it is the artistic 
touch that sells them. Chinese lily bulbs in dishes, with 
pebbles, all ready to add water, are another saleable com- 
_ bination. 

A low dish filled with moss in which wintergreen plants 
with berries or crocus bulbs were stuck, found enthusiastic 
buyers at one fair. Window boxes, so popular and yet 
considered by many to be difficult to assemble, box, earth 
and plants, will be easily sold when found prepared. 
Japanese gardens, too, always find victims. All sorts of 
garden tools may be sold at the flower booth—or in a 
separate booth near by. Quaint flower sticks, sunbonnets, 
baskets and seeds are a few of the articles this charming 
garden corner suggests. Plain flower pots are attractive 
when painted in various bright colors with enamel paint. 
Stripes or designs may be added in contrasting colors. 

Of course, tea-rooms and restaurants are a necessary part 
of a bazaar and are very important sources of revenue. 
They should be managed by capable persons, and if the 
_ affair is to attract a very large crowd, should be conducted 
by a caterer on a percentage basis if no better arrangement 
can be made. Often a popular caterer will give back all 
_ the profit. 

The “hot dog” stand is a recent fad and is always a 


- success. 


Real soda fountains have been installed at some of the 
very ambitious affairs, but if this is out of the question there 
should be one booth where all sorts of cold soft drinks are 
served. A splendid substitute for an ice cream soda was 
invented by a canteen worker in France. Stir ice cream 
into hot coffee or hot chocolate until the cream is melted, 
and the result is not too thick to drink. It sounds simple, 
but the result is deliciously surprising. An excellent punch 
may be easily made with grape juice and ginger ale, oranges 


[125 ] 


THE BOOK OF ENTERTAINMENTS 





and lemon added, if desired, but their absence is hardly 
noticed. 

Of course a place for dancing must be included in the 
arrangements, for this is an attraction without which no 
modern event is complete. A small charge is made for 
each dance and it is advisable to turn this feature over to a 
committee of young men. ‘There are so few places in a 
bazaar where men fit comfortably that it is well to use 
them whenever possible. Of course they may be utilized 
as “‘barkers”’ and put in charge of games. Throwing games, 
such as ring tossing, hitting a target, nine pins, etc. are 
always sure of crowded patronage. 

Humorous placards should be used in profusion. Often 
these posters turn an otherwise dull booth into a success. 
For instance, nothing could be more stupid than a row of 
home-made cakes, pies and crullers. Yet, if they are adver- 
tised with signs, interest is stimulated. ‘“‘A bride made 
one of these cakes—see if you can pick it out!” “If Bill 
Jones knew his wife made the chocolate walnut cake, Bill 
would have eaten it himself!’ ‘“These Crullers were found 
in Tut’s Tomb—they’ll just crumble in your mouth!” 
Typewritten recipes may be sold for a few cents each. A 
list of these should be printed on a neat poster, promi- 
nently displayed at the booth. Any women, with domestic 
instincts, would be happy to manage this booth. 

Motor cars, phonographs, sets of furs, pearl necklaces 
and other expensive articles are sometimes donated and 
chances are sold for these, bringing in large sums. 

The Street Fair, the bazaar craze at present, has the 
piquant flavor of a foreign carnival and the thrill of a 
circus. No restricting walls limit the plans or frown down 
upon gay little booths. 

The Park Avenue Street Fair in New York, annually 
attracting thousands, and given by the society women of 


New York, for three days in May for the Aid of Crippled 
[ 126 | 


CHARITY BAZAARS 





Children, is an outstanding example of what may be accom- 
plished in open air festivals. New York people found re- 
freshing novelty in the first carnival, Russian in character, 
with the exterior of the fair as colorful and gay as the 
interior. 

The wide plaza which runs through the fashionable © 
thoroughfare was ideal, being not too wide and running for 
many blocks in length. ‘The illustration shows how the 
transformation was accomplished. ‘The strings of odd 
shaped lanterns and the May poles with fluttering ribbons, 
seen above the low, painted barricade, were lures to 
passersby. To pass, without entering the gay enclosure, 
would have been as impossible as to imagine Alice taking 
a glance at Wonderland and deciding she wouldn’t pop in, 
after all. At night when the various colored lanterns were 
illuminated the effect was very beautiful. 

One of the important features of the Park Avenue Street 
Fair is the little theatre where stars of the first magnitude 
appear. Leading artists also make sketches in sight of 
interested crowds. 

From “hot dogs” to hats range the articles for sale. 
Besides merry-go-rounds, pony and donkey carts, the ever 
popular Tombola, there are always other features designed 
_ for the amusement of children. 

Tables or booths designed to interest children should be 
built very low. If indestructible toys are placed at the 
edge within reach where young patrons may actually touch 
them the toy tables cannot fail to be popular. 

The recent street fair in Park Avenue, continuing four 
days, was French in inspiration and tall standards bearing 
fleur de lis decorated the booths, which resembled the little 
puppet shows of the Champs-Elysees. One popular attrac- 
tion was a ‘Putting Green.”’ With eight tiny greens within 
the enclosure, this feature was a money maker. | 

Rivalling the Park Avenue event each year is the Street 


[ 127] 


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Fair given by the summer colony at Southampton, Long 
Island, for the benefit of the local hospital. East India was 
drawn upon for the most recent transformation of Agawam 
Park, where these fétes are held. The Royal Gardens of 
Delhi were reproduced, towering mosque and minarets 
looked down on East Indian market squares. Painted 
canvas was used for background effects. The costumes of 
all the bazaar assistants were the authentic dress worn by 
the Indian peasants, the Parsees, Rajahs, dancing girls 
from the Great Pagoda, fakirs, Grand Moguls, and were 
in keeping with the decorations. At the refreshment pavil- 
ion, the menu included real East Indian dishes—curry of 
rice, lobster, crab, chicken or lamb. 

One of the most interesting of the features was the 
“Cocoanut Shy,’”’ where a contestant knocking a cocoanut 
from its stick with a baseball won it. Cocoanut and palm 
trees furnished appropriate decorations for this attraction. 

The Wheel of Fortune, Dancing Pavilion, Boxing Arena 
and the Tombola were patronized by grown-ups, while for 
children there were a ‘‘Wonder Tree,” a ‘Sand Pile,” 
pony and donkey carts, merry-go-rounds and a marvellous 
toy booth. At a Colonial Booth lessons were given in 
spinning and weaving on a spinning wheel more than one 
hundred years old. 

Greenwich borrowed the “properties” of the New York 
street fair for another notable open-air carnival, without 
sacrifice of originality, for to these trappings were added 
many others. ‘This occasion introduced a clever publicity 
stunt. A prize was offered for the best show window in 
town advertising any of the several booths of the fair. 
There was also a contest for the best poster for the event, 
and prizes awarded. Since the Greenwich colony boasts 
many well known writers the book booth was featured. 
Authors sold and autographed their own books. 

The Farm was another innovation which proved popular, 


[ 128 ] 


CHARITY BAZAARS 





equipped with a stock of donkeys, calves, pigs, kittens, 
chickens, guinea pigs and peacocks. 

The costumes of the pretty vendors were conspicuously 
smart. The cigarette girls wore black and white creations, 
while the program girls were distinguished by blue dresses 
with yellow aprons trimmed with orange lace. 

The wide range of locale chosen for street fairs in and 
around New York in one season would seem to exhaust the 
possibilities for future affairs. Glen Cove, Long Island, 
- gave an Italian Fiesta while Bay Shore held a ‘Dutch Fete.” 
But, who remembers the fétes of yesteryear—or remember- 
ing, would not go again to an Oriental or European Market 
Place brought in all its gaiety and glory of color within 
walking or motoring distance? 

There are two bazaars, though, which owing to the cause 
for which they were held will probably never be forgotten 
by the thousands and thousands who attended them. 
_ Never will their like be seen for the eagerness with which 
the thronging crowds spent money. Though held, in what 
seems now as remote as the Dark Ages, during the early 
days of the War, aside from their historic interest they 
_may be recalled for their unique qualities. The “Alley 
Festa” was the loveliest bit of make-believe ever seen in 
New York. “Heroland’ was a most stupenduous and 
elaborate indoor entertainment. 

MacDougal Alley—an artists’ tiny pocket street of 
transformed private stables was ‘done over’ into an Italian 
thoroughfare. The Red Cross and other Allied War 
Reliefs joined forces and resources. All the studio houses 
were turned over to the management committee for the 
duration of the Festa, ten days, though originally planned 
for four days. The facades of the buildings were rebuilt 
_ with the aid of wood and plaster which the artists of the 
community colored and decorated with false windows, balus- 
trades, bell towers, chapel gates and garden walls. 


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The designs for the bright-colored Neapolitan scene were 
made by Paul Chalfin and were carried out under his 
direction. 

Banners, lanterns, confetti, war-posters, street singers, 
flower girls, organ grinders, peasants, pennants, marion- 
ettes, donkeys, side-shows, guitarists, ballad mongers, fruit 
vendors, colored lights and gay awnings were a few of the 
traditions employed to capture the advertised ‘“Cheero 
Spirit.” 

The studio of Mrs. Harry Payne Whitney was in itself 
an amazing feat to change from a three story building into 
a four story balconied restaurant. ‘The entire alley was 
faithfully transformed into a bit of Italy in one week’s 
time! 

Among the novelties, which, by the way, made good pub- 
licity material, was an elephant upon which rides might be 
taken into nearby Washington Square. So popular did 
this feature become that it was feared that New Yorkers 
would become addicted to elephant riding and further com- 
plicate the trafic problem. Photographs of society women, 
sitting in the howdah appeared in the newspapers. Another 
inspiration was the privilege of smashing German china 
ware with baseballs—at five cents a throw. Everyone has 
an ambition to smash china—and this was an excellent 
opportunity. 

The Alley Cat—a little plaster feline with arched back— 
sold into thousands at twenty-five cents each. Some small 
trifle, such as this, typical of the occasion, is a splendid way 
to catch pennies and is valuable in advertising an event. 

Fifty cents admission was charged and the gate receipts 
alone totalled an astonishing sum. 

“Heroland,” the Allied Bazaar, will always evoke mem- 
ories of a bewildering and impressive undertaking. The 
Grand Central Palace was given over complete, with vast 
floor areas, balconies and grand stairways, affording hos- 


[ 180 ] 


CHARITY BAZAARS 





pitable space to reproductions of picturesque corners of the 
globe—an English village, Italian restaurant, a Persian 
garden, Streets of Bagdad, etc. “The Cheshire Cheese 
was the acknowledged masterpiece. Samuel Johnson him- 
self might have walked into the replica of the famous old 
English coffee house and been deceived. ‘The maitre d’hotel 
of the real Cheshire Cheese was brought over from Eng- 
land to officiate, while chefs from the English original made 
lark-pies and Yorkshire pudding, which were not imitations, 
served with English ale in mugs—in those days even that 
was genuine. Visitors to London who go to the Cheshire 
Cheese may see clippings and sketches brought back by the 
real “hero” of “‘Heroland” Bazaar. 

Lady Aberdeen’s table of Leprechauns (Irish fairies, as 
the eager purchasers learned), was one of the centers of 
interest both because the public liked to get close to a title 
‘and also because the idea was appealing and one of those 
_trifles which people like to buy at bazaars. There was also 
a Fairy Tree. A beautiful cat, whose coat was a temptation 
to stroke, bore a little sign which read: “Please pet me— 
five cents a pet.” 

Some one with the imagination of a Barnum devised a 
“Marine Exhibit—Creatures of the Deep.” Those who 
were tempted to enter found small glass aquariums in which 
floated rubber toys, goldfish, sea weed, etc. Absurd, of 
course, but such absurdities are enjoyed at bazaars. If 
one desires a package of brass tacks, one goes to a hardware 
store. At a charitable féte it is a question of how much 
nonsense may be purchased at five or ten cents each. The 
old story of the two sisters will probably always be typical 
of bazaars. “Do you think that ten cents is too much for 
me to charge for my kisses at the bazaar?” asked the 
plain older sister. ‘‘No, my dear,” the pretty one declared, 
“people always expect to pay more than anything is worth 
at charitable affairs.” 


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Committees 


There should be a central or executive committee consist- 
ing of a chairman, secretary and treasurer and an ad- 
visory board. Every booth and feature needs to have a 
subcommittee. Responsibility for an undertaking of this 
nature should not be carried by too few persons, when 
large expenditures and receipts are anticipated. 

The chairmen of other committees should report to the 
executive committee on all plans and activities, and should 
receive formal approval in advance of expenditures being 
made, so that the executive committee may know just what 
expense is being taken on. ‘This avoids a string of bills 
coming in after the books have been closed, for which no 
one seems to be responsible, and which might easily total 
an amount greater than the earned profit. 

Money should be counted every night during the fair’s — 
progress and turned over to the treasurer at the closing 
hour. ‘The treasurer should give a receipt for the amount 
received. : 

In conducting an affair for charity, an exception is met 
in the matter of committees. While for many entertain- 
ments a small committee is to be preferred, in the instance 
of an important cause the more committees and the more 
persons serving on them, the better. When the project is 
for charity everybody may be depended upon to assume 
a share of the responsibility and work. 

Prominent names give prestige to the event and a 
necessary guarantee that inspires confidence. To secure 
large support is invaluable to social and financial success. 
Many persons are required to carry out the immense amount 
of detail connected with a bazaar and a small army of sales- 
people is needed. 

A bazaar is the most democratic of social affairs. The 
public may attend and the most exclusive society matron will 


[ 132 ] 


CHARITY BAZAARS 








serve a hot dog, throwing in a smile and conversation to 
anyone who will pay the price of the hot dog de-luxe. 

The large number of features which make up the modern 
fair are each in charge of a sub-committee and the result- 
ing competition between booths insures everybody will 
strive to out-do rival attractions, thus relieving the execu- 
tive committee of the usual doubt as to whether or not 
delegated work will be accomplished. The latent spirit of 
trade inherent in most everyone is aroused and each com- 
mittee becomes ambitious for its special ‘stunt’? to make 
the best financial showing. 

With many assistants each chairman is supplied with 
sufficient saleswomen during the several days the bazaar 
lasts. Also, the more persons actively participating, the 
more people they will attract, and a large attendance is to 
be desired above all things. 


Soliciting Donations 


With the object of making as much money as possible, 
soliciting donations is a part of the game. “Begging”’ even 
for a worthy cause is not a task anyone enjoys and many 
are temperamentally unsuited to it. Others are highly 
talented in this direction, though these same persons might 
prefer to starve before asking a crust of bread for them- 
selves. For an altruistic object they will go out and accom- 
plish miracles. 

“Mr. Skinflint, the contractor, has agreed to give us 
all the lumber we need,” reports little Mrs. Mouse. Every- 
one is astonished that Mr. Skinflint would give anyone any- 
thing—and more astonished that the quiet little member of 
the committee even dared approach him. 

In a town or small city no business firm can afford not 
to make some sort of contribution to the worthy cause, 
but it is a fact that in large cities, where no direct gain or 


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discredit may attach to a refusal to help, the response to 
such appeals is amazing when the project is meritorious. 

So, it is a part of bazaar policy to get everything pos- 
sible for nothing. No commitment for financial outlays 
should be made until all resources for donations have been 
exhausted. A number of persons in the same line might 
each be asked to contribute a certain portion of whatever 
is required, without making it a burden for one to supply 
the entire quota. Also, the fact that others are giving 
inspires each to do his share. 

Even when expenditures are necessary for certain work, 
such as carpentering or materials used in decorations, a cost 
price is often made, the contractor or merchant waiving 
the profit. This saving is important in itself. 

Selecting the squadron to round-up donations requires 
that those persons be chosen who are sincerely interested 
in the project, who have the knack of getting what they 
go after, who have “pulls” or who are so important in 
the community that a polite request from them is in the 
nature of a royal command. 

The chairman of each booth should be responsible for 
the gathering of the specific articles to be sold therein. 
While many articles are gifts, certain other goods, of which 
large quantities are needed, may be secured on consign- 
ment, to be sold on a percentage basis; what is left at the 
end of the sale to be returned to the consignor. The prob- 
lem of breakage and loss enters into this sort of arrange- 
ment, but with care this risk may be discounted and a good 
profit realized from consigned goods. Anything that is 
bought outright should of course be purchased at the 
wholesale quantity price. Not a large stock should be put 
in, if the source of supply is convenient for reorders as the 
demand warrants. 

Better many inexpensive catch-penny trifles than a pre- 
dominance of costly articles, though the latter also have a 


[ 134 ] 


CHARITY BAZAARS 





place, affording opportunity to rich or generous patrons to 
leave behind important sums to swell the funds. The visi- 
tors who are unable to make expensive purchases enjoy pat- 
ronizing many attractions and “‘stunts’”’ and so there should 
be all sorts of outlets provided tor this spending activity, 
which mounts up to surprising figures when the final count 
is taken. 


Publicity 


The newspapers always give generous space to worthy 
charitable affairs. There are many opportunities connected 
with a bazaar for good news stories. ‘The list of names 
comprising the many committees is an important feature 
of these stories and the longer the list, the better. 

For publicity purposes an attractive feature name is 
important. So, too, is there news value in having a 
definite theme or idea around which the affair is built in 
painting word pictures. Just “bazaar, a miscellaneous col- 
lection of attractions” makes no appeal to the imagination 
unless presented under some definite and colorful title. 
-“The Alley Festa,” ‘Russian Bazaar,” ‘‘Heroland,” 
“Streets of Cairo,” ‘‘Dutch Fete,” “Bazaar of Bagdad,” 
make definite impressions and arouse curiosity as to how 
attractively and with what interesting detail the idea is 
carried out. 

Since the life of a bazaar is usually three days or a 
week interest must be stimulated after the opening with 
further news of large attendance and ‘“‘stunts’” that are 
attracting special attention. Unexpected things happen 
which make news stories and the publicity chairman must 
_be on hand to see that these are immediately sent out to 
catch early publication. A very prominent person visiting 
the féte is good for a story. Some one feature not con- 
sidered especially important may leap into the “hit” of 
the affair—and this should be “played” to the limit. Also, 


[ 185 ] 


THE BOOK OF ENTERTAINMENTS 





photographs of the pretty saleswomen in costume should 
be supplied to the press. (See Chapter on Publicity). 


Underwriting Projects 


When large expense is undertaken in the planning of a 
charitable enterprise, or when a single major expenditure 
is made for one feature, it will be found advisable to 
underwrite the amount involved in advance. Particularly 
is this necessary with events which take place in the open 
air, and where a prospective profit may become a loss 
by caprice of weather alone. 

It is especially important to measure the chances of 
complete failure and provide for covering the loss, as it 
is important to estimate the chances for success. 

In a small undertaking the close friends of the organiza- 
tion may be formed into a syndicate, each one committing 
himself or herself to pay a share of the loss, if any, and 
the amount each member of the syndicate may be taxed 
should also be limited. ‘The expenses should thus be held 
within the amount which has been underwritten. 

For a very large undertaking, where an important sum 
is involved, the underwriting syndicate should be organized 
by a strong banker friend, who will invite friends of the 
organization, public spirited persons, merchants and others 
affected, to attend a meeting. If possible, such a meeting 
should be held in the directors’ room of an important 
bank. 

Some one should be chosen to state the call, describe the 
project and outline the plans. ‘This should be general 
rather than detailed, so that the object is well understood 
and appreciated. The financial risk should not be 
minimized, or glossed over as unimportant. The subject 
should be treated seriously, and the risk of loss to each 
subscriber painted in true colors. 


[ 136 ] 


CHARITY BAZAARS 





When the proposal has been well planted, and the need 
for underwriting the enterprise has been established, two 
or three bell wethers should be coached to offer their 
signatures to the underwriting agreement. When one or 
two important persons have signified their willingness to 
assume a part of the risk others will follow merely as they 
do not want to be left out, and with a number of signatures 
the remainder should be clubbed into signing, with inter- 
ested workers scattered about to attach themselves to little 
groups and help put the underwriting through. 

A committee of arrangements can certainly work with 
greater confidence of success if it knows that it is pro- 
tected against the embarrassment and loss even unto acts 
of God. Anyone who has been through the mortifying 
experience of responsibility for a huge loss, occasioned 
from whatever cause, will know the very great comfort 
realized from advance assurance that loss, if met, will be 
‘shared by a number of persons, and not by one or two 
individuals. Losses may be staggering and ill afforded by 
one or two persons, when no real or serious hurt would be 
met by a large group dividing the same amount. 

Persons without experience might be timid about organiz- 
_ ing a syndicate to underwrite possible losses, and prefer 
_ to take a chance that results will be as the fond expecta- 
tions. This is poor judgment, for in the event of failure, 
the same persons are placed in the humiliating position of 

soliciting others to help pay for a “dead horse.” 

But like other forms of insurance, the underwriting 
against hazards of possible failure, really lessens the risk. 
Organizing to meet trouble really means that the prospect 
of trouble becomes more remote. It does for the reason 
that all the persons who come into the underwriting syndi- 
cate take off their coats and go to work. ‘Their money is 
at stake, and while it may be a small amount, it may be 
sufficient to enlist their active interest and support. 


[137 ] 





THE BOOK OF ENTERTAINMENTS 





Members of the syndicate, too, have pride in the under- 
taking, when they become a part of the financial program, 
and so become active. All the helpful efforts of the 
syndicate members. combine to put the program through 
successfully, so that not only the possible financial help, 
if needed, is gained, but the active efforts of the syndicate 
members as well. ‘This is just so much more useful horse 
power. 

Sometimes the risk of failure can be underwritten in 
other ways. A large organization promoting an annual 
steamboat excursion and picnic desired to keep the price 
of tickets low so that all members and their friends might 
enjoy the party. Knowing from a painful previous 
experience that a rainy day might upset the financial pro- 
gram and curtail the sale of tickets, with prospect of 
serious loss in that event, a series of concert dances was 
held through the early spring and $500 was accumulated. 
The committee had obligated itself to $1,500 expense in 
the steamboat excursion plans, but it felt safe in proceed- 
ing, backed up with the $500 nest egg earned by the 
dances. When the day of the excursion rolled around, 
a dark lowery cold rainy day, the sale of tickets at the 
dock was small. Only the faithful who had bought tickets 
in advance showed up. The loss for the day was $97 and 
this was met from the dance surplus. The old maxim that 
persons who cannot afford to lose should not enter upon 
speculations for profit fits organizations equally well. 

Another advantage of underwriting a project against 
loss is that the committee in charge of arrangements, pro- 
tected against embarrassment, is free to devote its ener- 
gies to making the event successful, without worry, 
and being strong in the consciousness of this position 
radiates its confidence while its own enthusiasm begets 
enthusiasm. A committee, insured against loss, which lay 
down and failed to work hard merely as it couldn’t be hurt 


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CHARITY BAZAARS 





financially wouldn’t deserve to have the confidence ‘of its 
friends. 

No one need hesitate to organize an underwriting 
syndicate. Such protective committees are well known 
and understood in cities, and in small towns the practice 
is now general for annual Chautauqua visits. Or, another 
way of financing an undertaking of important size, is to 
hold many “sure fire’ small functions in advance—card 
parties, concerts, small sales, and any money making little 
stunts requiring small expense to put over. Enough of 
these modest entertainments often combine to realize 
enough capital to get an ambitious project under way. 


[ 139 ] 


CHAPTER XI 
THE Society Circus 


Besides being an excellent money maker, if desired, the 
society circus for years has been one of the most popular 
forms of entertainment. It may be presented in gym- 
nasiums with a saw dust ring for atmosphere, under a tent 
with flickering gas lights in real travelling show style, or 
as a desirable substitute for a tea party on an available 
lawn. If conceived and planned with imagination and pro- 
duced with originality it affords an amusing way of spend- 
ing a few hours. 

The first step in planning such an event is to get out as 
much seductive and lurid advertising as possible without 
really revealing contemplated acts. In small towns bright 
colored posters may be effectively displayed in store win- 
dows, on bulletin boards, upon trees, in hotels, on moving 
picture slides, and in various other ways. The chief point 
is to start the publicity early, change it often, and by 
ceaseless reiteration impress upon the public consciousness 
the fact that a circus is coming to town. If an enthusiastic 
committee is in charge it is possible to make many effective 
posters by hand. One person with some artistic ability 
should lay out the posters and by means of letter and 
animal patterns or stencils even inexperienced art workers 
can turn out quite a number of pictorial signs. ‘This is 
work that people generally enjoy since very bright colors 
and laughable effects are possible. Often where the notice 
is to appear in store windows little in the way of painting 
is necessary, as slightly stuffed appliqued animals in various 


[ 140 ] 


THE SOCIETY CIRCUS 





colored cloth can be sewed on cards in alluring positions. 
A very effective means of attracting the eye is a large 
stuffed gloved hand reaching around the side of a poster, 
clutching quantities of checks and bills while glued coins 
apparently spill down the pasteboard. A big caption to 
the effect, ‘““Are you saving your money for the circus?” 
or some other appropriate wording always captures atten- 
tion, just as ordinary bills pasted to a window for some 
reason invariably attracts a crowd. ‘There is something 
about the sight of money that is irresistible. In larger 
towns newspaper stories and other schemes are effective, 
as outlined in the Publicity chapter of this book. It 
_ is not a bad idea to post notices informing the community 
that various trick performers are desired for the circus 
and that they should report upon a date set. While 
circuses are usually given by a certain clique or organiza- 
tion, an entertainment run on the pageant principle of 
drawing from the entire community invariably means a 
larger sale of seats. If any snobbishness is apparent acts 
may be arranged in such a way that persons offensive to 
one another will not be forced to mingle. As a rule, how- 
ever, there is excellent esprit de corps on these occasions 
_and the whole cast is delighted when a new performer with 
some special line of ability is secured. 

Many dread the word circus because they think that 
it means working with horses or other animals. While 
entertaining dog, bird and horse acts may occasionally be 
secured from amateurs who have made a hobby of train- 
ing pets or riding, the best type of society circus is usually 
a burlesque of the real circus with human beings playing 
the part of monkeys, elephants and all animals. 

Although acts are customarily planned according to the 
talent on hand, a suitable scheme for a small but effective 
circus may be arranged on this order: Seats are made of 
boards, chairs and cushions or on more pretentious scaf- 


[141 J 


THE BOOK OF ENTERTAINMENTS 





folding around a pegged off ring with ropes fencing off an 
exit lane for the performers. If an orchestra or band is 
unprocurable the ring may be placed sufficiently near a 
residence so that the music of Sousa and other stirring 
pianola marches may be heard by the audience and cast. 

The usual circus opens with a parade of performers, 
but this is undesirable in an amateur production since the 
make up is half the fun and the acts lose a certain amount 
of their novelty if the clothes of the performers are 
exhibited ahead of time. 

After the opening blare of trumpets and loud music the 
ringmaster enters the ring. In a real circus he is usually 
a very stupid person. In the society circus he should be 
the most clever man available since his wit and presence of 
mind must be depended upon not only to cover up any 
hitches, but to cope with the audience as well—and a circus 
audience is always more familiar and more apt to talk out 
in meeting than any other variety. 

The ringmaster announces as amusingly as possible the 
greatest show on earth and the opening number which may 
well be the most brilliant and beautiful equestrienne num- 
ber ever beheld on any continent, in any country, within 
any state or city. It consists of from eight to sixteen girls 
of equal size garbed in vari-colored tarletan ballet dresses 
and riding stick horses with large gorgeously colored heads 
of wood or card board. The girls ridé slowly into the 
ring in single file lifting the feet in a sort of goose step 
as if on high spirited horses. When regularly spaced in 
the ring, they begin a series of steps and dances to good 
music. They waltz to the center, back to places, perform an 
in and out or grand right and left march without taking 
hands, employ the movement of an outer ring going in 
one direction and an inner ring in the opposite, both using 
fancy steps, exhibit marches by two, threes, etc., with fancy 
steps, and execute with dignity and grace all of the evolu- 


[ 142 ] 


THE SOCIETY CIRCUS 





tions and picturesque formations that a director may 
devise. When the formations are so complex that the 
stick horses are awkward the girls may hold them close to 
the side as if riding sideways. Naturally steps should be 
in keeping with what a trained horse could do. If the 
ringmaster remains in the act during this scene he should 
stand upon some kind of small elevated platform beauti- 
fully decorated and placed in the center of the ring. This 
number, if done seriously, if well coached and attractively 
dressed, is really very beautiful and audiences invariably 
like it. When the girls have made their exit, the clowns 
come running in with a fake firecracker stunt or any little 
comic pantomime which is mirth provoking. It is well if 
some small children can be dressed as clowns and taught 
parts, for even very old jokes become funny when lisped 
by a child. 

For instance, Jujube, the first child clown, breaks the ice 
by inquiring of the ringmaster, ‘Did God make you?” 
To which the ringmaster replies, ‘‘He did.” ‘Well,’ 
retorts Jujube, ‘‘seems to me he does better work now than 
he used to.’ In small communities where everybody 
knows everybody else these hoary quips seem doubly 
amusing. Indeed, local jokes are always appreciated. The 
next clown, as an example, makes his initial remarks about 
_ two families he sees in the audience. ‘‘What’s the matter 
with you, Flim-Flop?” says the ringmaster. ‘Why do you 
go around so glum looking?” “I feel bad, Mr. Gab-Gab,” 
says the clown, “‘awful bad. Can’t ever have any more 
fun.” ‘‘Why can’t you have any more fun, Flim-Flop?” 
begs the ringmaster. ‘‘What’s the matter?” “The Mil- 
lennium’s come,” whines Flim-Flop. ‘‘Everything’s got to 
stop right where it is.’ “The Millennium,” says the ring- 
' master, “how do you know it’s come?” To which Flim- 
Flop retorts, “Look! Can’t you see that the Lyons and 
Lambs are here together ?”’ 


[ 148 ] 


THE BOOK OF ENTERTAINMENTS 





The third clown then says, “If you’re going to pull 
all those rotten jokes around here, I’m going home. 
Somebody’s apt to hurl a base, cowardly egg.’”’ “A base 
cowardly egg,” repeats the ring master, “‘what’s that?” 
The clown retorts, ‘‘A base cowardly egg is one that hits 
you and then runs.” He proceeds to do so with the other 
clowns after him. 

The ringmaster next announces the thrilling tight rope 
walkers, the Balance Sisters, an act best performed to the 
music of ‘‘Piippchen.” For this act the clowns arrange a 
heavy, wide board on firm boxes or trestles several feet 
above the ground and stretch on the board a small rope 
which is secured at the ends with great pulling and general 
commotion. The tight rope walkers are helped into place 
by means of a ladder even though the climb is only two or 
three feet. They begin the usual stunts of slowly 
traversing the rope, waving about, returning to starting 
points, walking carefully toward one another with parasols 
balanced, walking on the rope on tip-toe, etc. A handker- 
chief is placed in the center of the rope and the star tight 
rope walker picks it up with great difficulty. A tin pan 
rumbled by a clown or a drum in the orchestra at this and 
similar exciting junctures greatly adds to the thrill of the 
moment. The clowns of course build out the performance 
by peering at the actors in a manner depicting envy and 
awe. Later they attempt similar stunts by trying to crawl 
along the board, being hauled over it, etc. 

More clown jokes ensue and an announcement is made 
of the spirited, spectacular, superb bare back riding by 
Mlles. Influenza and Coriza. This is a galloping act by 
- very young and attractive children who jump through 
large bright paper hoops, spring upon quickly set plat- 
forms and wait while their stick horses are led under. 
Then they jump back on their steeds and continue their 
mad career. 


[144 J 


THE SOCIETY CIRCUS 








The clowns again attempt comedy of some kind accom- 
panied by jokes, followed by the overwhelming exhi- 
bition of trapeze performers which in turn gives place 
to the strong man and the contortionist. For the strong 
man the slimmest person obtainable is chosen. Large 
empty cans painted black and marked with figures 500 
Lbs., 1000 Lbs., 2 Tons, etc. are the properties for this act. 
The strong man carefully tests all his paraphernalia and 
then slowly tries lifting it. Before he is through he, of 
course, accomplishes remarkable results. His grave face, 
slow precision and his bows to the audience are usually 
mirth arousing. The clowns attempt to duplicate his feats, 
but are unable to move a single can. Then a clown advan- 
ces, picks up everything at once and is chased off by the 
other clowns. 

Madame Minerva and her beauteous maidens follow 
in a marvelous Greek dance which is later subjected to 
clown burlesque. Where Minerva feels the sun upon her 
brow and rouses from slumber on the green, the clowns 
use an alarm clock, where she bathes in an imaginary 
pool, the clowns splash about in a wash basin, etc. 

The next announcement is of the trained animals con- 
sisting of Jerry, the Giraffe; Jumbo, the elephant; Walter, 
the walrus; and Drathim, the Dragon. As in all acts the 
- number may be augmented or lessened according to the 
material on hand. Beautiful Mlle. Belladonna puts these 
quadrupeds through various tricks, but her chief stock 
in trade in asking them questions about local celebri- 
ties, the wording so phrased that she is enabled to 
secure some laughs. Naturally the clowns get applause 
by pulling the animals’ tails and being kicked over, 
lying down in the path of the animals and being stepped 
mover, etc. 

There are elaborate animal costumes which may be 
made from patterns procurable from the women’s maga- 


[ 145 J 


THE BOOK OF ENTERTAINMENTS 


zines and elsewhere, but simple and suggestive coverings 
are even more amusing. Gray army blankets, for example, 
make a satisfactory elephant’s body when thrown over 
two men bearing poles. ‘The head is easily worked out 
of gray building paper with painted eyes, set-on ears, and 
tusks of white paper strips rolled into curved tubes, glued 
and shellacked. If more pains are taken, head and trunk 
may be constructed of gray canton flannel stuffed with 
cotton. Indeed, the whole body may be achieved of this 





Building paper over light wire or wood framework 
makes an adequate giraffe 


and the straw stuffed legs may be wound with strips of it. 
The less accurate the animal the funnier it is. The giraffe 
may be constructed of yellow blankets, burlap or gunny sack- 
ing on which are sewn or pasted black spots. The head 
whether stuffed or made of cardboard is attached to a pole 
or broomstick handle. 

If it is desired to copy the jointed wooden animals, 
heavy building paper or cardboard may be used in block 
like shapes for the body which should be attached 
to the upper block over the men’s backs by strong 
adhesive tape. Walter, the Walrus, may be suggested 


[ 146 ] 


THE SOCIETY CIRCUS 





by a brown wool wig and fuzzy brown wool fastened over 
the mouth and lower face with projecting tusks made like 
the elephant tusks only shorter. Flippers may be con- 
structed in various ways, but for the inexperienced worker 
it is perhaps best to construct large stuffed gloves with 
the fingers sewn together. A burlap coat or, indeed, an 
ordinary brown overcoat, if Walter hunches into walrus 
shape, is all that is necessary to complete the impersona- 
tion. Monkey costumes can usually be rented and fre- 
quently there are persons who have dog, cat and other 
animal heads which have been used at masquerades and 
which can form the basis of many animals. 





Yellow pineapple silk hung over bent bamboo rods is the founda- 
tion for a dragon 


If a dragon is used to chase the other animals out of the 
ring, it may be constructed as follows: ‘The body is com- 
posed of a large rectangular piece of yellow or green lined 
pineapple silk eleven to fifteen feet in length and sufficiently 
wide so that when the center is lifted off the ground above a 
man, the edges barely touch the ground. Every three feet in- 
side this body are sewn tapes to hold in place bamboo rods 
bent in semi-circular form like the bow framing of a 
prairie schooner. A man is placed at each one of these 
rods inside the body and by holding the end of the rod in 
each hand is able to walk and carry the dragon without 
spoiling the appearance of the nicely rounded back. The 


[147 J 


THE BOOK OF ENTERTAINMENTS 


tail is fashioned of a series of wire circles diminishing in 
circumference from a large ring to a tiny one and con- 
nected by several wires. It should be somewhat curved 
upward from the body, to which it is attached by tapes, 
and is given a more menacing appearance by wire pro- 
tuberances along the top ridge which are of course covered 
over with the same material as the tail and dragon proper. 
The tail should have strong straps attached to it to buckle 
over the shoulders of the last man in the body. The head 
may be made of a large hat box covered with material 
or from a large cloth covered lantern or from wire like 
the tail. It is attached to the body by tapes and should 
be moved from side to side by the man manipulating it. 
Naturally the wilder it can be made the more amusing 
it is. 

The next announcement is of a chariot race by Mlles. 
Castoria, Antikamnia, and Morphia which is performed 
to the music of the Walkire. Girls or boys appropriately 
arrayed in chariot costumes are given chariots, each of 
which consists of a piece of building paper or linoleum 
curved around.the person and with sides fashioned like those 
of a chariot. It is steadied by cross pieces of wood. The ex- 
terior is done in gay colors and the heads of four gor- 
geously painted horses are fastened to the exterior of the 
front. ‘The charioteer holds this chariot in place about him 
by means of the cross piece of wood or handles affixed to 
the inside of the sides. When the gong sounds he is 
ready to dash about the ring. The act is followed by the 
clowns who use wheel barrows or pull toy chariots, get- 
ting into a fight over the finish, etc. 

The snake charmer is the next performer. She enters 
with a basket or box of snakes labelled ‘‘Beware,” ‘‘Dan- 
gerous,” “‘Danger,”’ etc. The clowns inspect the box. One 
lifts the lid and is bitten by a snake. He pleads with the audi- 
ence for a drink of whiskey, then asks his fellow clowns. 


[ 148 J 


THE SOCIETY CIRCUS 





One sneaks off to the audience and entrusts his bottle to a 
patron for safe keeping, starts back, and gets a laugh by re- 
turning and moving the bottle to another, to still another, 
etc., as if he could not make up his mind whom to trust. 
The snake charmer removes the snakes from the box, pulls 
them along her arms, around her neck, and puts them 
through various tricks, meantime going through certain 
dance steps and doing snaky movements with her hands. 
The snakes are made by slitting a stocking lengthwise. 
The two large ends are sewn together and then the sides 
are joined in a seam leaving one small end open enough 
to pour in sand or sawdust. ‘This end is then sewed up 
and makes the tail while bright button eyes and two strips 
of red flannel constitute the eyes and mouth of the snake’s 
head—the other end of the stocking. The clowns bur- 
lesque this act, ultimately killing the snakes and carrying 
them off on sticks. 

The next act is a minstrel song hit directed by Sesame 
and Lily. The music makes a good finale as it helps to 
jazz up the show and sends the audience away in an ex- 
cellent humor. Of course, circuses are often more pre- 
tentious and worked out with more scenes, more people 
and greater variety, but the foregoing gives an idea of 
how the subject may be approached. 

Immediately the grand finale is over, which consists of a 
parade of the performers, barkers for different side shows 
and booths begin their shouting. ‘The more and bigger 
their noise the better. At the booths everything is sold 
from pink lemonade to circus books and animal cut outs 
for children. The side shows vary as does the big perform- 
ance according to the nature of the talent. It is possible to 
utilize almost anything. A woman with a good voice, 
for instance, may be dressed as a negro mammy and set 
to singing plantation songs or just mammy songs, for that 
matter, to banjo accompaniment. She may be billed as, 


[ 149 ] 





THE BOOK OF ENTERTAINMENTS 


‘Plantation melodies’? or ‘‘Mammy’s in here. Don’t miss 
her” or more luridly. The tattooed man may be achieved 
with water color paint; also, by means of stickers and 
stamps moistened and attached to his body. A prize 
fighting act is popular and is particularly funny if 
done by three year olds. Of course there is always 
Gypsette, the palmist, the stilted tall man, the chamber 
of horrors where heads lie on tables or the heads of 
Blue Beard’s wives are hung upon the wall—a simple 
stunt of sticking the head through a hole in a dark ma- 
terial and pinning the hair at the right angle. Side show 
subjects are endless. For those who have not time to 
concoct ideas material may be obtained from the chapter 
on Bazaars. 

When only one performance of a show is given the 
circus properties such as chariots, elephants, Pos aay etc., 
are frequently auctioned off to advantage. 

Finally, no circus should be given, especially on a lawn, 
without careful provision for automobile trafic. There 
should be regulated parking spaces and the lines of in- 
coming and outgoing cars should be so guided that con- 
fusion and congestion are reduced to the minimum. 

Also, no circus should be given without just as careful 
rehearsal as that afforded any dramatic offering. It 
sounds so easy that selected performers are apt to say, 
“Oh, I can do that,” but it is only by experimenting that 
new and amusing stunts develop and grow into a real 
show. Entrances and exits should be practised, business, 
and even jokes should be rehearsed. 

When the final performance is staged, a list of acts 
should be put up in the dressing rooms and someone should 
be present to see that each act enters the ring promptly 
on its musical or other cue. In order to keep the perform- 
ance from being tiresome, it must move quickly and with 
precision allowing no waits whatsoever. If the circus 


[ 150 ] 


THE SOCIETY CIRCUS 





is managed and presented with any skill, it is a sure fire 
success, for, after all, nobody has really grown up and the 
planning of individual shows when pins were the price of 
admission was only yesterday. 





1sy J 


CHAPTER XII 
| PAGEANTS 


When a number of idle hotel ladies decide that they 
are replicas of Eve or Helen of Troy and conclude to get 
together and aérate their systems with fabrics that would 
make a lace curtain blush, they dress some bell hops in 
Nubian undershirts, hand them a bunch of fly swatting 
palms and recline on half a dozen willow divans covered 
with robes of rabbit fur. What the public calls the 
spectacle is not printable, but the ladies endow it with the 
illuminating title, ““The Pageant of the Apple.” 

Indeed, pageant is a word which at present is somewhat 
loosely applied to tournaments, moving tableaux, masques, 
public entertainments that are spectacular and colorful, 
and frequently to shows that fail to fit any other category. 
As a matter of fact, the term pageant is somewhat more 
restricted from a technical standpoint, and yet during the 
centuries it has been applied to so many forms of colorful 
entertainment that perhaps its definition is really more all 
embracing than pageantry experts will admit. Just when 
the expression first came into use is probably unknown, but 
it is likely that pageants originated from the old mystery 
plays which were enacted on separate platforms moving 
along the streets. At any rate, it is said to take its deri- 
vation from a word meaning scene, a division of a play 
or of the platform on which mediaeval drama was shown. 

It is deduced that from the movable platforms filled 
with emblematic and allegorical figures the pageant grew 
and crept into royal favor until it was incorporated into 


[152] 


PAGEANTS 





coronation exercises where it took on a new pomp and 
splendor. Historians note that Anne Boleyn’s coronation 
pageant in 1533 contained figures of Apollo and the Muses 
which makes it sound almost like a college Tree Day ex- 
ercise of the present. At an early date the Lord Mayor of 
London observed the possibilities of the pageant and fea- 
tured it at his annual show in a somewhat degraded shape, 
but this step saw the pageant developed from a moving 
platform affair to a processional spectacle which was seized 
upon and used by the various guilds and fraternities. De- 
scendants of this form are the New Orleans Mardi Gras 
and the St. Louis Festival of the Veiled Prophets. 

The modern pageant in its best sense is more than a 
mere spectacle. It is dramatic in construction consisting of 
scenes or episodes directly bearing on an historical, edu- 
cational, social or allegorical theme treated from an aes- 
thetic standpoint. It employs speech, pantomime, danc- 
ing, marching, singing, and colorful pictures. The feature 
which distinguishes it from the drama is the fact that 
the action is carried on by groups rather than individuals. 
This naturally augments the cast, making it possible for 
any number, from several dozen to several thousand, to 
take part. For this reason pageantry is the most valuable 
-means of awakening community spirit and is daily growing 
‘in favor and in finish. The old mystery play concerned 
itself with the rare moments of earthly life when it came 
‘in contact with the heavenly. From this idea some pageant 
material has been evolved dealing with events occurring 
only at mankind’s exalted moments when lofty and unselfish 
motives are uppermost, but by far the greater number of 
pageants are historical in tendency, as ‘“The Progress of 
Women Through the Ages,” “‘Denver’s Pageant of Prog- 
ress,” “The Pageant of Indiana” showing the develop- 
ment of the state as a community, from its exploration by 
La Salle to its entrance to the Union. 


[ 153 ] 


THE BOOK OF ENTERTAINMENTS 





Occasionally well known stories are successfully pre- 
sented in pageant form. The Pied Piper of Hamelin, for 
example, is beloved by children. ‘There is opportunity 
here for a variety of costumes in the garb of the towns- 
people, the burgomaster and, last of all, the children who 
take the parts of black, white and brown rats with bristling 
whiskers of florist’s wires and long cotton stuffed tails, 
factory-made by a friendly mother’s club. This spectacle 
has been successfully put on in Chicago and other cities, 
and certainly made the participating children happy 
whether or not it received an O. K. as the highest type 
of pageant. 

In the same category may be mentioned a pageantized 
version of Longfellow’s Evangeline which was recently 
delightfully depicted by the people of New Iberia, Louisi- 
ana, before an audience of perhaps ten thousand. With the 
stage curtained by Spanish moss and the shining waters of 
the bayou beyond, it is little wonder that this romantic 
story caused those who witnessed it to say that they never 
could forget it. 

While there are many well known epics of literary value 
suitable to romantic pageant treatment and a number of 
excellent pageants which have been written with an eye 
to general production, the underlying idea of this form, 
as fostered by the American Pageant Association, is a 
spectacle evolved, written, staged and acted by specific 
communities. It is figured that local festivals of this 
nature are not only instructive and valuable in bringing 
participants and friends into closer harmony, but that 
they also awaken or increase community pride, besides oc- 
casionally being of financial benefit to the places present- 
ing them. 

A pageant is such a tremendous affair, involving so many 
people, so much money, effort and time, that before plans 
for it have progressed very far the question should be 


[154] 


PAGEANTS 





asked, ‘“‘Who is going to furnish the enthusiasm to see this 
through and who will back it financially?” 

An institutional pageant is usually put through by its 
alumni and friends, town pageants are either sponsored 
by the society people or the business men. ‘The latter are 
perhaps more advisable since it is more to their interest 
to finance them and also because they are more apt to give 
the pageant masters a free hand. One method at present 
in vogue, where the financial side is first considered, is to 
round up the business men of the town and have them 
elect a dozen of their members to handle the business of 
the venture. This committee will sell concessions at large 
prices to those who wish to have exhibits somewhere on 
the outskirts of the pageant grounds or building and will 
arrange trails to the main attraction through these booths 
or palaces. 

The dance hall concession at a recent Denver pageant 
brought in $6,500 before plans were even mature and 
other concessions sold at a similar rate. With a plan like 
this it is obvious that the pageant is not forced to depend 
upon the sale of seats to pay expenses and the general 
scheme may progress without the worry of monetary em- 
barrassment. For less mercenary affairs, a sum of money 
may be raised by donations or some other form of enter- 
tainment and set aside to start the pageant. This must be 
the first step or else an undertaking will be planned the 
-scope of which is beyond the available resources and in- 
stead of emerging with dignity, the town will find itself 
‘much in the same position as historic Shelby, Montana. 

The money raised, an organization is decided upon. A 
pageant director is chosen either by consultation with the 
American Pageant Association or from local talent; a 
good press agent is selected; also, a chairman of printing 
and seating. It is perhaps better not to appoint a chair- 
man of cast, a chairman of properties and costume, a di- 


[ 155 ] 


THE BOOK OF ENTERTAINMENTS 





rector of music, a director of dances, authors, solo dancers, 
etc., until the pageant director is consulted. 

Frequently he wishes to write his own book, but usually 
the community pageant is a collaboration, and this is what 
it really should be in order to get the old folk festival 
feeling which ought to prevail. 

The first thing to be decided is the subject of the 
pageant and the period to be covered. ‘The idea’s suit- 
ability can only be deduced by asking whether the events 
making up the cycle are dramatic material, whether sym- 
bolic interlude themes can be drawn from them and 
whether a detailed study of the customs, colors, costumes, 
properties and music of the period would be worth while. 
If the material is turned over to a pageant director he 
will either put it in shape or know of authors who will 
arrange it, but if it is to be written locally there are several 
helpful points to be considered. 

The first is a selection of a suitable outdoor or indoor 
background, as it is easier to plan the pageant when it 
is known where the spectacle is to be presented and ap- 
proximately the number of actors who are to be used. 
Outdoors is inseparably connected with pageants and it 
is better whenever possible to present them in a natural 
setting, but where a large indoor stage is to be used, the 
pageant may be managed successfully by hanging a hand- 
some cyclorama of silver or black (See Scenery) and 
setting colorful objects against it in keeping with the 
various episodes. When these objects should be changed 
an attractive curtain dropped in front of the cyclorama will 
act as sufficient background for interludes or processionals 
while the simple background episode accessories are 
arranged, 

In selecting a site for the open air pageant it is 
well if possible to find sloping ground resembling an 
ampitheatre with suitable distance from the central 


[ 156 ] 


PAGEANTS 





more level action space. A stream or lake is of great 
assistance to the pictorial effectiveness of a fine pageant as 
it is always possible to make so many beautiful pictures 
with colorful barges, rafts, etc. A background and side 
_ fringe of trees is desirable to make exits a trifle less crude. 
In selecting the background a visualization of the re- 
quirements, movement and general color scheme of the 
pageant should be kept constantly in mind. Indeed, it 
is well never to forget that the entire effectiveness of the 
presented picture will depend upon the vividness of the 
episodes, the grouping and massing of color, the quality 
of speeches or dialogue, the beauty of the dancing and the 
appeal of the music. 
_ While the time presentation of the pageant varies, 
eight ten-minute episodes with possible interludes will 
furnish an entertainment of usual length. The episodes 
should be gems strung together on a golden thread of plot 
or continuity, and often the authors are fearful of just 
what the material should consist. The pageant is so wide 
in scope and so mercifully unlimited by the usual dramatic 
unities that events far separated in time may be fittingly 
portrayed so long as they are related in character and con- 
tribute to the idealistic purpose of the performance as well 
'as the story. A collection of historical scenes is not really 
a pageant unless each contributes to the upbuilding of the 
_ general theme while individually expressing the same idea. 
_ Often, indeed, episodes which are quite widely separated 
in time and place form the most spectacular of pageants. 
_ As an example of connected episode might be mentioned 
the Pageant of Thanksgiving presented by the Savannah 
Festival Association and found in Linwood ‘Taft’s excel- 
lent book, The Technique of Pageantry. In this eight 
episodes or scenes depict various forms of thanksgiving. 
_ Episode One portrays primitive man seeking protection 
and favor of the gods. 


[157] 


THE BOOK OF ENTERTAINMENTS 








Episode Two shows that even pagan people set aside 
special days for votive offerings to the gods and depicts 
Greeks en route to the shrine of Athene. 

Episode Three calls to mind that the Romans ordained a 
special day of celebration for establishing peace in the 
Roman world. 

Thus, the pageant scenes move on up to the first Ameri- 
can Thanksgiving and conclude with a Federation of the 
World episode. 

In order to give an idea of the contents of an episode, 
the second one in this same pageant is a fair sample. 

Heralds blow bugles and attendants assigned to the 
episode lead on the Greeks. The first of these are two 
flute boys who in turn are followed by priests carrying the 
saffron robe especially woven for and annually carried to 
the patron goddess Athene. Men, women and children 
follow in long and colorful procession bearing gifts of 
wheaten cakes, jars of oil, fruit, garlands, and baskets of 
flowers. Young men carry swords and spears to be ded- 
icated anew to the goddess. ‘There are dancing girls, too, 
and the whole winding ceremonial is carefree and joyous 
although places in the procession are never lost. 

The form of The Passing of the Kings by Nina Lamkin 
runs: 

‘“‘Prologue—Early prophecy represented by the Magi 
Priests and the Provhets of Israel. 

Interlude 1—A Dance-Drama. Sadness, Hope, The New 
Light, Triumph. 

Episode 1 (490 B. C.) Rejoicing over the Battle of 
Marathon. 

Interlude 2—Dance-Drama. Roman women, ‘By this 
we conquer.’ 

Prologue by the Prophets. 

Episode 2—(330 A. D.) Pilgrimage to Constantinople. 

Interlude 3—-Dance-Drama. ‘Thor and Followers.’ 


[ 158 ] 


(Zo, abvg aag) 


‘10]00 jo Suisseur pue Suidnois ay} uodn ApjvaiS spuadap ainjord pajuasaid ay} JO ssoudatoayo oy, J, 


mosdmoyy, [nV_ Aq OJOUd 


ee elaine, a er 
ee, eee a i* ~ 9X 





(26, a6vg aag) ‘I[QeIISap ST saad} 
jo punoisyorq ev pure jueaSed auy eB Jo ssauaATjIaHa [ersojId ay} 0} doUR\SISSE jvoid JO SI aye] IO WeII}]s VY 
uosdwmoyy, Invg Aq oJOoUd 





PAGEANTS 





Prologue by the Prophets. 

Episode 3—(596 A. D.) Augustine sent into Britain. 

Prologue by the Prophets. 

Episode 4—(1099 A. D.) Mohammedans in Jerusalem. 
Pilgrims of the First Crusade. 

Prologue by the Prophets. 

Interlude 4—Dance-Drama, ‘Tyranny and Freedom.’ 

Episode 5—(1215-1517) Influence of the Reforma- 
tion. 

Episode 6—(1588) Defeat of the Spanish Armada. 

Prologue by the Prophets. 

Episode 7—(1675-1918) Story of American Freedom. 

Interlude 5—-Dance-Drama, ‘Victory.’ 

Prologue by the Prophets. 

Episode 8—‘Every Valley Shall be Exalted.’ 

Time—Two Hours. Cast—100 to 1000.” 

Theme and episodes chosen, the director or authors work 
them out in detail or else episode chairmen or directors are 
appointed, told the general scheme and each asked to work 
out in painstaking detail his own particular episode, cast it, 
and rehearse it, consulting meantime with the pageant direc- 
tor and supervised by him on occasion. ‘The property 
director is set to work accumulating accurate information 
concerning properties. ‘he costume director proceeds in 
like manner with the costumes so that the wrong kind of 
shoes, for example, will not be worn for the period de- 
picted. 

The costuming and its coloring constitute perhaps one of 
the most important parts of the pageant, for, to quote 
Nina Lamkin, “Each part of the pageant is a large paint- 
ing where group action and color schemes are studied in 
their relation to the movement and spirit of the whole 
production.”’ Not only the color scheme for the entire 
pageant is important, but for each group as well. Some 
color combinations are unpleasant when used in proximity, 


[ 159 ] 


THE BOOK OF ENTERTAINMENTS 





others do not afford sufficient contrast and worst of all, 
unless the director of costuming is familiar with a wide 
range of colors and materials, the pageant is apt to assume 
a monotonous appearance. 

An understanding of fabrics is always a valuable 
asset since the same shade is different in varying tex 
tures. Silk, for example, reflects light and appears quite 
brilliant; cotton absorbs light; while wool gives soft tones. 
Very gorgeous clothing may be made from inexpensive 
materials. Where clinging garments are required cheese- 
cloth and voile may be used. Sateen and other goods may 
be used for stiffer raiment. All may be glorified by the 
use of applique, dyes or oil paint. Gorgeous kimonos, for 
example, apparently worth a fortune, may be made of 
white sateen placed on dress forms and decorated with 
aniline dyes applied in effective designs by means of a 
brush. Some garments may be made up of many shades 
of one color as turquoise blue, cobalt blue, ultramarine 
blue, etc. and other artistic designs can perhaps be achieved 
by a judicious blending of colors. Armor and original cos- 
tumes may often be borrowed by responsible persons from 
collections, but it is usually safer to copy these treasures. 
Turkish toweling treated to a coat of aluminum paint often 
makes very good coats of mail. 

When the various directors are started on the larger and 
more general aspects of the pageant, a person or persons 
should be chosen to furnish the dialogue. As a rule there is 
far too much of this. If the pageant is unusually large and 
the audience in keeping in size, voices do not carry partic- 
ularly well. The good pageant, therefore, should be 
largely self-explanatory by its scenes and action. For the 
benefit of that portion of the audience which never knows 
a home run has occurred and cannot imagine what the 
pageant is about, all speeches should be printed on the pro- 
gram. As a rule the oral explanation of episodes is 


[ 160 ] 


~~! 


PAGEANTS 


accomplished by means of a herald who also recites the 
prologue. Occasionally this individual is replaced by a 
chorus evolved from the Greek drama. ‘The value of the 
chorus is that explanatory matter is introduced directly by 
means of songs or symbolically through dance evolutions. 
If the herald is used, his speeches should be in verse or 
rhythmic prose since it has been proven that these forms 
carry better out of doors than words strung together 
without rhythm. 

Frequently before the first episode, a lyrical prelude of 
dance and music occurs to symbolize the subject of the 
pageant. Sometimes, too, when appropriate to the subject 
matter, folk dances are introduced. It is not unusual 
to have these lyrical interludes after every two episodes. 
When the action of the pageant is complete the herald 
usually recites an epilogue summing up in poetical form the 
main theme or moral of the whole spectacle. Often, too, 
a recessional of all the characters is used as a striking 
finale. | 

_ The music is an extremely important item of the pageant, 
as it forms a background for the action and helps to pre- 
serve the tempo of the performance. While it will be impos- 
sible to use an orchestra for all rehearsals, the pianist should 
meet with every group. Naturally the selection of the 
proper music is of gravest consequence and should be 
handled by a highly trained musician. The same may be 
said of the dances. 

When actual rehearsals are started, it is wiser not to call 
the entire pageant cast as it is very difficult to control 
so many people and incidentally it is useless to waste their 
time since it is really better to perfect each group picture 
before combining the episedes. When, however, all the 
groups are assembled for final rehearsals the director will 
save time, strength and lung power by employing mes- 
sengers or telephones to convey instructions to the orchestra 


[ 161 ] 


THE BOOK OF ENTERTAINMENTS 





and different portions of the field. An excellent rule in 
casting is to select more people than necessary, for some 
are sure to drop out and it is better to work with those 
who have been rehearsed than to put in entirely new 
individuals ten days after rehearsals have been in progress. 

A pageant is so tremendous that it is impractical for 
the director of the whole to attend to every detail as is 
possible with certain dramatic forms mentioned elsewhere. 
The director’s real task is to engender confidence, en- 
thusiasm and a willingness on the part of all cooperating 
to do their full share. Indeed, it should be remembered 
that the raison d’etre of the pageant, as it has been de- 
veloped in the last dozen years, is to draw all classes and 
ages together in a common bond of desire to bring back 
past history in its most vivid form. The result of working 
out any theme of ethical value has a permanent effect for 
good on the community concerned and cannot be too highly 
recommended where any locality is having a centennial or 
any other excuse for a vivid spectacle. Whether the choice 
is a panoramic pageant, dramatic pageant, epic pageant, 
pageant drama, dramatic festival, or lyrical drama it is an 
undertaking of no regrets, if properly managed, and the 
form has been so developed in the last few years that there 
is little chance for mistakes with competent advisers. De- 
spite this statement modern pageantry is still more or less 
in its infancy. What its next growth will be is not known, 
but the supposition is that each community from Portland, 
Maine, to Portland, Oregon, will attempt to do something 
new with it—something surpassingly fine, inspiringly help- 
ful and worthy of the new community spirit spreading over 
the land. It is this spirit which will make for greater 
patriotism and a united people who will not merely look 
at the flag, but who will follow it. 


[ 162 J 


CHAPTER XIII 
DINNERS 


Once the new chairman of an entertainment committee. 
announced that he intended to smash tradition at the 
annual dinner given by the society. The dab of fish, the 
historical chicken that tastes like a dry-cleaned kid glove, 
the withered olive, the wilted lettuce leaf and the frozen 
nugget, masquerading in paper petticoats as ice cream—all 
would be missing from the menu. He had ideals, that 
chairman, and an imagination—but he had not met 
Monsieur, the Steward, when he made these rash promises. 

It seems that the laws of the Medes and the Persians 
were after all transitory things—but the banquet chicken 
is eternal. It is one of those sad facts that just has to be. 
There’s no alternative. The stewards of many caravan- 
saries, where Mr. Chairman went seeking food novelties 
for the annual dinner, patiently explained why the menus 
of all large dinners, since Nero gave up entertaining, have 
been the same. 

Food in large quantities must be prepared in advance. 
Chicken stands the test of time better than say—Filet Mig- 
non. Also, price must be considered. ‘“There could be,” 
reluctantly admits the steward, “‘puree of pea soup, a nice 
bit of fish, broiled chicken, Julienne potatoes, haricots verts, 
salad, an ice with petits-fours and coffee.’ The steward 
appears to anticipate a loss, in agreeing to serve such a 
dinner—at such a ridiculously low price. The chairman, 
with original ideas, is forced to agree that it is indeed a 
miracle that this dinner can be served—at the price. When 


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THE BOOK OF ENTERTAINMENTS 





olives, celery, and radishes are magnificently included by 
the steward, the chairman feels he has driven a wonderful 
bargain—at the price. 

It never seems to matter what the price is—it is the same 
dinner, and the price from the manager’s point of view, 
low. Problems of the kitchen and price doubtless combine 
to make large dinners what they were and will continue to 
De. | 
The average hotel charge, per plate, is from $2 to $4. 
Tickets must sell from $3 to $6 to allow a margin for 
music and other expenses. Dinners rarely, if ever, produce 
a profit for an organization, and are usually considered to 
be brilliant financial successes if they break even. 

If the dinner is given in the association’s own club house 
better terms may be made, as the overhead expenses are 
not charged and the actual price of the dinner goes into 
food and service. Then, too, one may hope for variety in 
some of the courses. But those who make arrangements 
with hotels or caterers must be reconciled to a stereotyped 
menu—even to the ratio of only two chocolate frosted 
petits-fours to a plateful of the plain cooky variety. 

Aside from the economics of the unimaginative menu, 
it is perhaps as well that these staple viands are made 
standard. ‘The majority will eat all of these things and 
perhaps if an epicure planned a strikingly unusal fare for 
a large group, half of those present wouldn’t care for it 
anyway. 

The best that a dinner committee can do in ordering for 
several hundred persons is to look over the list the steward 
presents, O. K. it with perhaps a few minor changes that 
may be agreed upon as practical—and urge that the quality 
be of the best, the food carefully prepared—served hot 
when supposed to be hot—and ice cold if it is supposed to 
be cold—and in concluding the arrangements, assure the 
steward that he is one of the most obliging and capable — 


[ 164 ] 


DINNERS 





persons to be met anywhere and that under his supervision 
the dinner is bound to be the best one on record. 

Then if the steward is appreciative of praise, he may 
break tradition and put a slice of broiled mushroom on 
top of the broiled half chicken and a slice of broiled 
Virginia ham under it—and Russian dressing on the lettuce 
leaf—and then it will be an unusual dinner, ‘‘so different”’ 
from the one the club had last year when there was no 
mushroom and the salad was just the toughest old romaine 
—practically nude of dressing of any sort! 

There should be an understanding with the steward 
about the exact time the dinner shall start. A large dinner 
shouldn’t start so early that the guests will find it incon- 
venient to get there in time, since many have business hours 
and must go home to change their clothes. On the other 
hand the dinner must not be too late in starting, or every- 
body gets too hungry, and past being hungry, which results 
in peevishness. About 7:15 is the right time for a dinner. 

Having obtained word from the steward as to how long 
it will take to serve the dinner, in case it is important to get 
through quickly for a lengthy program, speed may be 
insured by the promise of a modest bonus for time sayed in 
service. ‘This results in everything being served with snap 
and piping hot. Also, the committee should always in- 
clude the tips for waiters in the price of the dinner, other- 
wise guests are embarrassed by the passing of a plate 
around the tables by soliciting waiters, which is always bad 
form. | 

If the entertainment is to take place in the room where 
the dinner has been served, it will be necessary to arrange 
in advance for the removal of tables, allowing chairs to 
_be drawn nearer the speaker’s table or platform. This 
takes about ten minutes, if the management is prepared, 
and arranges for sufficient helpers. ‘The interval is appre- 


[ 165] 


THE BOOK OF ENTERTAINMENTS 


oo 





ciated by the guests as an opportunity to move around and 
converse. 

A committee should not plan, or permit others to intrude 
speeches, songs or other features while dinner is being 
served. Todo so disrupts the service, or the entertainment 
features are given to the accompanying clatter and bang 
of waiters coming and going and the rattle of dishes. 
This does not apply to incidental instrumental music which 
is a good cover for the hum of conversation and the clink 
of crockery. 

The seating problem is simplified when long tables are 
used and no places are reserved, except for officers, speakers 
and guests of honor. The continuous tables are arranged 
in a hollow square, or horse-shoe or even in long parallel 
lines extending the length of the room. When small 
reserved tables are preferred, the question of filling applica- 
tions may be found under the chapter on Tickets. 

Table decorations should be kept low, since tall arrange- 
ments of flowers in vases obscure the view of speakers, 
entertainers and persons opposite. Also, flowers should 
be selected which do not fade easily. As large dinners 
usually take place during the season when flowers are high 
in price and limited in variety, banks of green ferns may 
be used and the color note for the tables be introduced by 
candles, place cards and favors. 

Table balloons are always popular and in tossing them 
about the spirit of the coldest gathering is warmed. 
Colored streamers may be distributed when the food is out 
of the way, but never confetti, which is a nuisance. 


Controlling Speakers 


A committee to whom responsibility is given for a dinner 
or evening entertainment will be saved from failure if 
every minute of the time available is programed in — 


[ 166 ] 


DINNERS 





advance. Nothing should be left to chance, for the course 
of events rarely runs smoothly by itself. An affair gets 
limp, sags in the middle, sinks and is often a total loss, 
all because of misplaced confidence that everything would 
work out all right. 

In spite of all possible care to account for all minutes of 
the entertainment it frequently happens that disappoint- 
ments are met, but how much deeper is the black pit when an 
incomplete program is robbed of one or more of its star 
numbers? 

If a speaker is allotted ten minutes, and is made 
acquainted with the schedule of the evening, his remarks 
can be confined within ten minutes. If, on the other hand, 
no such restraint is exercised in advance, the speaker, 
flattered with ever so little applause, is liable to stretch 
the ten minute allotment into a half hour or longer, and 
few speakers can hold an audience so long, or have a 
message that is worthy of so many minutes. 

When the program is left rather indefinite and speakers 
are called up from the floor almost any party will degener- 
ate into an experience meeting, than which nothing can be 
more deadly. We have only to recall those speakers, coming 
on in series, beginning with Absalom and ending with 
Zachary whose opening remarks never vary, “I’m not 
much on speechmaking, but I’m glad to be with you to- 
night.”’ If such a speech is made a score of times—and it 
frequently is at the same dinner—no one is more to be 
blamed than the committee of arrangements. 

A speaker is entitled to notice in advance, several days 
if possible, that he may have time to prepare a really worth 
while message. Notice is not required that the speaker 
prepare a long address, but rather that he can pack the 
allotted time with interesting facts, and polish the speech 
so that it comes easily within the time allowed. How well 
a speaker observes the time rule—and nothing can be more 


[ 167 ] 


THE BOOK OF ENTERTAINMENTS 





important—depends upon just how the invitation to speak 
is extended by the committee. 

When this is the order, and speeches have all been 
arranged for specified minutes, the program may be made 
up. Not too much attention need be paid to the speakers 
who demand to speak first. Every speaking veteran 
wants an early place on the bill. He is fearful of a tired _ 
audience, fatigued by a lot of windjammers who have 
gone before. Speeches should be sandwiched in a program, 
- the light and thin ones with the solid and heavy. Each type 
helps the other by contrast. If the first speaker can bring 
a little fun into his opening remarks, and his talk is short, 
the crowd settles back in anticipation of an interesting 
evening. If the first speaker gets into a long stride and 
cannot find the brakes the following speakers need to be 
good to bring interest back to the party. 

The second speaker’s remarks should likewise be short, 
for then the following speakers will be convinced that they 
cannot roam over the seven seas and all continents, and 
will likely be staring at their watches many times in the 
course of their remarks, and so keep within limits. The 
conductor of the evening’s program should make an event 
of planting his watch in front of him as this is certain to 
have an intimidating aspect for the long speaker. 

It is quite as necessary to control the really humorous 
speaker. No matter how funny, humor cannot be stretched 
out so long as straight talk. Audiences have been known 
to rock with merriment and to shriek with laughter and at 
the same time be secretly hoping that the speaker will stop. 

If a speaker is to make a long address, the committee 
of arrangements should know, in a general way at least, 
what is going to be said. If the speaker has prepared a 
speech made up of interesting facts certain to be new to 
hearers and so well received; if the speaker is a master of 
the subject, or has spent much time in research, the com- 


[ 168 ] 


DINNERS 





mittee can know that even a long speech will ‘“‘get over.” 
There are, however, professional speakers who have 
learned the trick of pointing one set speech, making it to 
fit any and all occasions from a corner stone laying to a 
sorrow service. Such speakers should travel fast be- 
cause otherwise the audience recognizes the repeats, and 
_ no matter how well delivered such a speech is most often 
a “flop” or failure. 

Be wary, too, of the speaker who digs his speech out of 
the dictionary. He always begins: ‘‘When I was asked to 
address you tonight, I knew nothing of the subject of your 
common interest and so I spent the afternoon in investiga- 
tions and research. I took my dictionary in hand. You are 
in the rubber business. I find that well known lexicograph- 
ers define ‘rubber’ as ‘the deciding game of a contest.’ ” This 
is sure to attract just enough laughs to make the speaker 
feel that he is making a hit. If he has not been threatened 
with slow torture for over staying the five or ten minutes 
allowed, this humorist will wander through a full hour. It 
is always difficult to revive an audience after such a speaker 
has induced sleep. 

Congressmen feeling relieved of rules of debate when 
they speak for dinner guests are habitual offenders. Espe- 
cially if addressing his constituents, a Congressman feels 
that he must defend his whole career and define his position 
on all large and small subjects. If a Congressman is to 
be one of the speakers the committee should exchange 
several letters, concerning the engagement, and in each 
letter refer to the number of minutes allowed to the 
speaker. 

Much time is often lost, and little entertainment pro- 
vided, in long winded introductions. The presiding officer 
has a reputation to sustain if once referred to as a wit. Left 
alone he is certain to spend more time in the introduction 
than the speaker should employ for his message. The 


[ 169 ] 


THE BOOK OF ENTERTAINMENTS 





committee should threaten to chloroform the chairman 
if he fails to make his introductions snappy. One of the — 
committee needs to stand by, too, because speakers are 
certain to break all promises made to committees in advance 
if there is no policeman on the job. 

The introducing officer, too, should prepare himself in 
advance, or else many misstatements are made, and when 
the speaker gets the floor, following an inaccurate intro- 
duction, ten minutes are used in refutation of the introduc- 
tory libels. The presiding officer who goes to a meeting 
without any idea of who is present to speak and what is to 
be said, is apt to begin each introduction with, “Mr. Jones 
tells me that during his days spent in Thibet,” etc. and thus 
a second hand garbled impression comes out, which Speaker 
Jones struggles to correct. 

The facetious introduction is often in poor taste and 
unfunny, and if the speaker is disconcerted the assembly 
may lose a really good talk, because the speaker is miffed. 
Or as frequently happens when an introducing officer baits — 
the speaker, that person may be super clever at come-back — 
and rub salt into a sore. 

These things—any and all of them—are liable to happen 
at any meeting, and rob it of its charm, but a tactful com- © 
mittee, which makes its program in advance, takes its 
speakers into confidence, and asserts quietly its full de- 
termination to police the meeting and maintain the schedule, 
is more nearly certain to realize a successful dinner. | 

If the speaker is really important and brings a very big — 
message, or if his position is so distinguished that he must — 
be saved from embarrassments, he has every right to 
demand a copy of introductory remarks in advance and 
the committee, too, is within its rights if it asks that the 
speaker provide a copy or outline of his speech. This 
can always be tactfully arranged, and is much to be pre- 


[ 170 ] 


DINNERS 





ferred over the next day’s gossip occasioned by a serious 
break. 

Such a course is particularly to be followed if there 1s 
fear that the speaker may unloose a flood of propaganda. 
Many a speaker has been innocently invited to speak on 
a subject, which was quickly sidetracked and _ lost, 
once he got to his feet, and the time devoted to 
issues which many of the audience resented. If the cir- 
cumstances are aggravated enough, a chairman or commit- 
teeman would be well within rights in denying the floor 
to the speaker. 

The fact that audiences are tolerant and disposed to 
listen respectfully is not justification for an ill considered 
address. If more speakers were brought to book such an- 
noying occasions would be more rare than at present. Sin- 
cere speakers with a mission may be quite as offensive as 
endowed propagandists, but perhaps the worst pest at a 
speakers’ table is the unfunny funny person who cranks up 
with; “It seems there were two Irishmen, Pat and Mike,” 
and follows with all the wheezes in a book of drummer’s 
yarns. 

No one should be called upon unexpectedly to speak or 
to do “‘stunts.”’ If several persons are to contribute spe- 
cialties the order of appearance should be arranged in ad- 
vance and the performers rounded up conveniently near the 
platform, if one is used. “Stunts’’ should be introduced by 
the toastmaster as well as speeches, for no one enjoys 
walking up ‘‘cold” to a platform. 

The dinner that dispenses with speeches is coming more 
and more into vogue. To insure an enthusiastic response 
to ticket sale announcements it is only necessary, in many 
circles, to note in the invitations, ‘“No Speeches!” But in 
dispensing with this time honored institution something else 
must be provided. Dancing solves the problem in many in- 
stances, but the club which gives dances during the season, 


[171] 


THE BOOK OF ENTERTAINMENTS 





in planning a dinner to appeal to many who may not care 
for dancing, may well provide some other form of enter- 
tainment. In every organization there is a “dinner crowd”’ 
made up of non-dancing members and one such party should 
be planned for them. 

The “‘head-dress”’ dinner has been found to be amusing. 
It is less trouble than a costume affair, each person 
“making up” merely his head. ‘The dramatic talent of 
which every group boasts, may find an excellent opportunity 
following a dinner, to put on several short playlets, with 
musical numbers, specialty dances and whatever the club 
may have in members with “‘specialties’’ which, however, 
should not be those that have been done to the point of, 
“Have we got to listen to that again—Goodnight!” 


[172] 


CHAPTER XIV 
REUNIONS 


There are various species of reunions—old settlers, fam- 
ily, volunteer firemen, war veterans, and so on through an 
ever increasing list—but the most intricate or specialized 
Reunion is that indulged in at stated intervals by college 
graduates. The cynical will say that this is a form of mania 
encouraged by colleges for the purpose of increasing en- 
dowment and getting free publicity, but the fact remains 
that there is something inspiring about a really good Re- 
union. For the time being at least some of the worldliness 
of the years sluffs off and there is a return to the buoyant 
ideals of youth. The sight of quiet men or women of real 
achievement burns away personal egotism and brings forth 
a certain self-communion that is harmful to no one now 
and then. 

The success of a Reunion is due to a tireless chairman 
and a good class organization. The latter depends largely 
on the loyalty and verve of class officers, although in recent 
years colleges and schools have been so exacting in the 
matter of records that even most lax secretaries have 
been forced to keep in some sort of touch with their class- 
mates. 

The class record is the first thing the chairman should 
secure upon entering office. ‘The next possession to be 
treasured is an old list of commencement festivities. “The 
following step is to appoint as a committee member a 
classmate who lives in or near the college town in order that 
many details such as class dinner, conferences with alumni 
secretary, etc., may be personally arranged. 


[ 173 ] 


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At least eight months before Commencement the chair- 
man should begin his work. The first job is to compose 
a bright, peppy letter to all classmates reminding them that 
Reunion is drawing near and begging them not to have any 
babies or business that will prevent a big get together 
crowd in June. Incidentally, suggestions are requested 
and ideas that will help to make the coming Reunion a real 
event. In response from a class of two hundred and 
eighty-three will come two post cards congratulating the 
chairman on his snap and one letter saying that the class 
used to be a dignified organization and that the writer 
wishes it understood that he considers it deplorable that 
such a slangy, jazzy epistle should be sent out on class 
stationery. It might as well be understood early as late 
that he for one will not attend any Reunion run in such a 
frivolous manner. ‘Two weeks later some one else will 
write to say, ‘Please don’t make us carry parasols.”’ 

Meantime, the chairman carefully perusing class names, 
makes a list of useful people under the headings: 1. Singers. 
2. Writers. 3. Speakers. 4. Persons with histrionic ability. 
5. Dancers. 6. Composers. 7. Artists. 8. Printers’ rela- 
tives. 9. Plodders willing to work. 10. Especially dis- 
tinguished. Names are also grouped according to geo- 
graphical sections, for it is always of assistance if there — 
are eight persons living in Atlanta who will get together 
and furnish some idea or stunt. By stirring up different 
sections it is possible to pit one against another for sug- 
gestions and material of various kinds. For instance, it 
is helpful to write San Francisco, ‘Chicago has sent in the 
best song to date. Can’t you go em one better?’ Where 
a class is fairly prosperous or a chairman has a generous 
pocket book, results are sometimes obtained by telegram — 
when letters fail. An old superstition has been built up — 
about yellow backed messages brought by a boy in blue 
that they are important and it is probable that they will 


[174] 


REUNIONS 








always be more reverenced because of this unaccountable 
impression. 

Arranging for songs should be one of the earliest duties 
of the director of Reunion. He should decide how many 
-marching, topical and serenade songs will be required and 
set about getting them. If the class is rich in composers, 
the writers are instructed what to furnish in the way of 
lyrics and the composers are put to work. Where there are 
no composers the chairman will obtain the best result by 
personally selecting the music and mailing it to the writers 
to fit with words. If this is not done, seven authors will 
send seven songs to Auld Lang Syne and five to The 
Flowers that Bloom in the Spring. Certain additional 
songs are always written after the class actually reaches 
the campus. At a Reunion which was nothing but a weary 
downpour of rain one class achieved many chuckles from 
_ other alumnae by a hastily written song to the effect that 
though the states were dry the college still was wet. It is 
wiser, however, not to wait till the last moment for march- 
ing and serenade songs which presumably should have 
more merit and technique than a spur of the moment 
giggle. 

If class instrumental music is desired a sub-chairman 
should be appointed to stir up mandolin and guitar players 
and the music should of course be sent them. A song and 
cheer leader with a good voice and pleasing personality 
should next be selected and copies of the music mailed 
him also. It is growing more or less customary, particu- 
larly among women’s colleges, for local sections of a class 
to hold annual or semi-annual luncheons on a given day. 
If it is possible to send copies of the songs to these groups 
so that there may be a few rehearsals of the words before 
returning to college something is gained, although this is 
by no means imperative. 

Meantime, the chairman studies the old list of Com- 


Oke 


THE BOOK OF ENTERTAINMENTS 








mencement festivities. Sometimes the program is available 
for the coming year, but in general this seldom materializes 
until three months before the actual date and the wide 
awake chairman should have made many plans before then. 
The value of the old program is that it gives an idea 
of the more or less prescribed events and the hours which 
are unfilled. ‘The wise chairman will see to it that every 
one of these vacant hours is scheduled for some activity. 
When he cannot do anything else he should arrange a 
Cook’s tour of the Campus conducted by the wittiest person 
in the class. 

Graduates talk about going back to dear old Alma 
Mater to be with Sal or Bill, but as a matter of fact 
a classmate’s life history is available in twenty minutes’ 
conversation and after that one time inseparables are bored 
to tears with each other. ‘The other fellow is interested 
to know whether his vis-a-vis has children or dogs and how 
many of each; whether he has been divorced; whether he 
married the flame of last accounts; and what his present 
business is. When it comes to what Willie said to his 
teacher, one’s yearly salary in flat figures, and a list of one’s 
acquaintances in the Four Hundred it is unnecessary 
to furnish the listener with ear mufflers. His face may 
smile, but he hears nothing. A busy Reunion with the crowd — 
doing things together will result in everybody returning 
home telling how wonderful the old classmates are. A 
quiet Reunion where, ‘We'll just talk over old times” is 
the motto, sends everybody away firm in the belief that the 
old crowd has turned into a bunch of pests. 

It might be said in this connection that chairmen should 
frown upon the ever growing habit of classmates returning 
encumbered by their families. This defeats the very pur- 
pose of Reunion. College houses cannot accommodate these 
aliens and they not only make Reunions difficult but exasper- 
ating. Where women come attended by husbands they 


[ 176] 


REUNIONS 





are not available for certain occasions because Henry wants 
to motor that evening or is willing to buy a rug for the 
dining room if it is chosen on that day of all the three 
hundred and sixty-five in the year. Where men return with 
wives and youngsters they spoil other men’s fun and their 
own. It is impossible to enter whole heartedly into college 
spirit with allegiance divided. ‘The family is a part of the 
life since graduation and it is the very thing which should 
be forgotten temporarily in order to get the best out of 
the event. Chairmen’s letters, therefore, should discourage 
the attendance of any but bona fide graduates or honorary 
class members such as the class baby who always receives 
a special invitation to be present at all class ceremonies. 
Better halves should have pride enough and sense enough 
not to tag along on these occasions. 

The chairman next decides where the class dinner is to 
be given and sets about getting estimates, sample menus 
and prices per hundred, two hundred or what ever number 
he anticipates from statistics of former Reunions. ‘This 
task is best attended to by the committee member on the 
spot. It should be remembered that Reunion is an ex- 
travagance for many and therefore the most costly selec- 
tions should not be made although the best possible ac- 
commodations should be arranged for the price. The class 
dinner is perhaps the most important function for Reunion 
because many appear for that who are unable to attend 
other commencement festivities. It should, therefore, be 
memorable. The location will depend on whether dramat- 
ics are introduced or straight speeches only. In the former 
case it will be necessary to engage a gymnasium or room 
with a stage and an early selection is necessary in order to 
beat the other fellow. In general, the event should be 
scheduled for the college town. ‘There is no sense drag- 
ging people across the continent to the dear old college and 
then rushing them fifty or a hundred miles farther in order 


[177] 


THE BOOK OF ENTERTAINMENTS 





to eat in a more handsome hotel. In general, too, it is 
better to order all bunting, lanterns, etc., for decorating 
purposes in the stores of the college town. They will be 
interested and try to do better in the way of prices and 
delivery than an outside firm. 

In large colleges there is usually a general Reunion chair- 
man. Before devising uniforms or insignia, parade schemes 
and the like it is wise to find out from him if this is to be 
a unified Reunion, i. e., whether all the classes are to fol- 
low a general style in self decoration, etc. It is then well 
to proceed accordingly. Where matters of insignia, etc., 
are left to the discretion of each class, committee ideas 
should be selected which will put the class in a rank above 
the other classes, as there is nothing more dampening to 
class enthusiasm than to have some particular class not 
one’s own walk away with all the honors simply because 
it had a committee that was on the job. 

As most classes publish a year book in connection with 
Reunion it is essential that an editor be appointed early 
so that he can be getting letters, statistics and other ma- 
terial from his scattered classmates. Incidentally, it will 
be necessary to get estimates on printing and this is where 
the item ‘‘Printer’s relatives” comes in to advantage. Some 
classmates may be in the business or be related to someone 
who is—a little detail which will affect the quality and 
price of not only the year book but numberless tickets and 
forms of various kinds incidental to Reunion. It is also 
well to start the class artists on transparencies, placards, 
place cards and anything of this nature which is apt to be 
required. 

A second general letter is advisable if the chairman 
can manage it. This should be as alluring as possible and 
paint glowing pictures without divulging actual plans, as, 
for instance, ‘‘Would you like to see X— Z— stand on his 
head in a pail of hot tar and balance seven tokay grapes on 


[ 178 ] 


REUNIONS 


his nose? You may not see this, but there will be some- 
thing better. Don’t missit! Etc., Etc.” This letter should 
also contain one from the editor of the year book telling 
what material is wanted, when and where it is to be sent, 
etc. 

A month before Commencement the final letter should 
be mailed. This gives the authentic dates of various Com- 
mencement and Reunion festivities. It will also tell what 
will be required in the way of clothing, i. e., whether eve- 
ning clothes, all white clothes, etc., will be worn. If caps 
and gowns will be required for any function this should be 
stated together with the popular length for gowns at the 
present time. Also, a note should be made whether high 
collars will be used with them, etc. Rental prices and the 
name of the firm supplying academic robes should be given 
for the benefit of those who traded their scholastic insignia 
for a watermelon on the day of graduation. Most im- 
portant of all the address of the class headquarters at the 
college should be given. Last, but equally important, de- 
tachable slips should be attached to this letter saying: ‘““‘Do 
you want the year book? It will be out———————and 
will cost—————. Mail check at once to——-__—__—__- 
as no books will be printed which are not subscribed for.” 


“Will you be present at class dinner? Your reply must 
be in before-————-----_ or no reservation will be 
made for you.” 


“Will you be present at Alma Mater for the entire 
Reunion?” 


When replies to these questions are in, a definite order 
may be given the hotel or caterer for one hundred and 
eighty or whatever the number may be for the class dinner. 
It should be understood that the number may be aug- 


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THE BOOK OF ENTERTAINMENTS 





mented on the day of the dinner by telephoning up to a 
certain hour. Even then it is well to engage food for at 
least fifteen who do not order, as approximately this num- 
ber will drop in at the last moment. The number who 
will be present for the entire Reunion will give an idea how 
much is to be ordered in the way of insignia. In cases 
where alumni from points south and west want to catch a 
certain boat or train it is well for the chairman to dissemi- 
nate all the information available about cost of trans- 
portation, schedules, etc., but he should never engage to 
buy tickets or he will find himself in the hole. Prospective 
purchasers should buy directly from the ticket agents. This 
saves many complications and much bad feeling later. 

In most colleges the undergraduates vacate college 
rooms on a certain date and they are then available for 
the alumni who write directly to the college registrar 
stating their preference for location, but where this is 
not the custom and the chairman must hunt accommoda- 
tions, he should send out notices that so many rooms are 
available at such and such places and the prices are thus and 
so. [he individuals should make their own reservations, for 
the chairman will have enough money to handle without 
being muddled by looking after sums for classmates. 

Where classes have money in the treasury, bills may be 
paid as they come due by requisitions on the class treasurer. 
If the class is in financial straits, bills should either be 
held for payment until all moneys for Reunion are in or 
else costs should be underwritten by the chairman or others 
and so defray obligations. The financial success of a Re- 
union depends largely on the arithmetical prowess of a 
chairman. He should not only calculate expenses accurately, 
but add enough overhead so that all emergencies, extra 
dinners unpaid and the like will be taken care of. Class- 
mates should be given an idea of the approximate cost of 


[ 180 ] 


REUNIONS 








Reunion and when they arrive extra calls on their pocket 
books should not be forthcoming. 

In most colleges there are usually certain events such 
as alumni dinner where representatives from all classes 
speak. Often there are special memorial exercises, corner- 
stone laying, class prayer meeting and other functions. The 
chairman should learn from the alumni secretary how often 
speeches will be required from his class, on what occasions, 
and the general tone of the talks demanded. ‘The president 
of the class should be allowed to take his choice of these 
speeches and the others should be delegated to certain 
members according to the nature of the material desired. 
It would be as well not to hand the class prayer meeting 
over to the best wit in the class. Likewise the person who 
brings tears to the eye in the prayer meeting may not be 
the right individual for the alumni luncheon. Plenty of 
time should be allowed all speakers in which to make out- 
lines of their talks, for even good extemporaneous speakers 
sometimes like to refresh their memories on certain points 
before facing an audience of several hundred people. 

If an orchestra or other hired music is to be used for 
class dinner or for any other occasion, it should be engaged 
early. The committee member near the college town can 
probably dig up a band of musicians who are in the habit 
of playing for dances at the nearby schools. An orchestra 
booked in January is apt to be less fanciful in its charges 
than one engaged in June. It is an excellent idea to furnish 
the orchestra with the music of Reunion songs as every time 
this is played it helps to familiarize the class with the 
tunes. | 

Where dramatics are used in connection with the class 
dinner it is well to plan the entertainment well in advance 
and the writers in the class should be put to work on 
material to be produced. It is better if this is all keyed 
to some activity connected with the college or some scholas- 


[ 181 ] 





THE BOOK OF ENTERTAINMENTS — 


tic theme, but this is not imperative. Many amusing sketches 
can be written about various chapters of class history, what 
happened when X tried to leave home to reach Re- 
union, etc., etc. When the plays, sketches, etc., are com- 
pleted they should be put in the hands of responsible per- 
sons in various towns where there are the most alumni. 
These local groups are then started rehearsing their par- 
ticular bit. It is better where each locality will write and 
stage its own skit as local pride enters into the benefit of 
the performance, but often such an arrangement is not 
feasible. 

When the chairman has written as many letters as he 
can to classmates in order to stir up enthusiasm and a de- 
sire to attend Reunion and the time approaches for the 
event, he should reach the college somewhat in advance 
of the others in order to see that all bunting, lanterns, 
balloons, uniforms or insignia have arrived. 

He takes these to class headquarters as assigned and — 
selects a reception committee to run matters there. As 
each alumnus enters he registers his name, address and 
room number and receives in return a name placard for 
his door, also his insignia, ticket for class dinner, ticket for 
alumni dinner, etc., etc. It is better for the chairman to 
figure out the cost of insignia, dinner, etc., and charge each 
person a lump sum upon registration. If this is not done, 
some will decide that they want this and some that until 
confusion will result. If one helper gives out insignia, 
another handles tickets, etc., another checks up the cash and 
the buyers, there is very little chance for loss. At class 
headquarters should be displayed a good sized bulle- 
tin enumerating all events during Reunion festivities, for 
although cards were sent to classmates these are invariably 
lost. | 

If the chairman has been wise he has personally attended 
to the decoration of class headquarters and the banquet 


[ 182 ] 





REUNIONS 








hall early. He has also discovered from the general 
chairman where his class is supposed to stand on entering 
certain parades and where it is supposed to sit at certain 
functions. This knowledge may be conveyed to the class 
marshal. Sometimes the president assumes this baton, 
sometimes the chairman, but it is usually best to secure some 
distinguished class member for this honor as the chairman 
and the president have quite enough to do and the greater 
number of the class who can be assigned duties the better 
it is for class morale. 

If the college gives a general alumni show or Follies the 
class dinner is an excellent place to try out skits of which 
the best is selected for presentation before the whole alumni 
body. Where after dinner speeches are dispensed with, it 
is not a bad idea to have two or three short speeches 
before the show starts and it is really an excellent plan to 
call on every member of the class for a two minute talk 
while the performers for the first act of the show are 
dressing. ‘This makes everybody feel that he or she is a 
part of the festivities. It is remarkable how many laughs 
can be packed into a few words by each member. At one 
such function a New England welfare worker caused a burst 
of merriment by stating that she had 1500 children—all 
illegitimate. Another standing said, “I’m still single— 
thank God.’ In print they do not sound particularly 
laughable, but in the proper setting half a sentence perti- 
nent to the occasion is sure to bring forth a roar. 

Colleges vary so in size and in the number and variety of 
their events that it is impossible to go into greater detail 
without giving matter that would probably be extraneous 
in many cases. There is one safe rule for every chairman 
to remember, however, and that is that he should demand 
bills for everything furnished, pay by check and thus make 
sure that all his accounts are straight. ‘There is nothing 
more embarrassing than discrepancies due to carelessness. 


[ 183 ] 


THE BOOK OF ENTERTAINMENTS 








There are not apt to be losses of any kind where every- 
thing is carefully planned in advance. It is only when 
things are done in a rush that orders are duplicated, things 
left unchecked, prices unreasonable, and the whole affair a 
mess. 

The chairman who is forehanded, who stays on the job 
and keeps his information up to the minute, answers queries 
courteously, and helps his classmates to shine is sure~to 
emerge from the affair with a sense of accomplishment. 
The job is no sinecure. It means executive work, creative 
work, the guile of the serpent, the blandishment of Lucifer, 
the frankness of an archangel, and yet if any man or woman 
puts heart and soul into the struggle he or she is bound 
to come out of the ordeal in a state of mind that borders 
on the lofty. 





Better halves should have pride enough not to tag along on 
these occasions 


[ 184 ] 


CHAPTER XV 
EXHIBITIONS 


It was considered a very daring innovation, not so many 
years ago, when a group of humorists in New York decided 
to hold an exhibition. Such shows had been given success- 
fully in Paris and London, but it had been more or less a 
tradition in this country that an exhibition was a serious 
proposition not to be adapted to frivolous subjects. The 
- general public, boasting it “didn’t know much about Art, 
but knew what it liked” avoided Art shows as being de- 
signed exclusively for those who “knew all about Art and 
didn’t like anything.” 

The first Humorists’ Show was a success, however, and 
another glorious venture of the playful type was “The 
Exhibition of Bad Taste,” sponsored by a group including 
leading interior decorators. Such a weird collection of 
household gods and ornaments as this brought together 
proved for all time that an exhibition could be made of 
almost anything, providing it was done in a witty manner. 

When the Society of Independent Artists gave their first 
show of Cubist and Futurist art in an armory, thousands 
and thousands attended out of curiosity, especially attracted 
by the now historical masterpiece, ‘Nude Descending 
A Staircase.” | 

These and other cheerful shows did much to make ex- 
hibitions popular. Many art organizations now lighten 
their yearly program of exhibitions with a humorous show 
to which contributors may send anything designed to win 
a smile from an oil painting to an animal made of a peanut. 


[ 185 ] 


THE BOOK OF ENTERTAINMENTS 





The National Arts Club gives over its long galleries every 
spring to one of these artistic frolics and the Society of 
Illustrators holds an annual ‘‘Exhibition of Playtime Stuff,” 
work done by the members for “fun,” and preferably not 
in their usual medium of expression. 


y 









LS ah Bh Bs 


i ’ fi 4 
| ye 
ae f | ‘ 
Bi 
A ‘ 


iis 





NE hts 
Vi ete 


‘~ 


| PLAY. TIME STUFF 

| {SOCIETY OF ILLUSTRATORS} 
ART CENTER 

APE end 


Art organizations now lighten their 
yearly program with a 
humorous show 


Any club which prides itself on a varied program of 
events might find a yearly exhibition well worth while. 
There is a wealth of material available in almost every 
locality. Hidden away, only waiting to be brought out and 
shown, are scores of interesting objects which the com- 
munity is quick to appreciate. | 


[ 186 ] 


EXHIBITIONS 





In Hartford, Conn., for example, some one suggested 
a Silhouette Show. It developed that there were a great 
number of these unique black paper pictures hanging in 
homes, including one of the very famous silhouettes cut 
by William H. Brown about 1830, which made the show 
outstanding and attracted visitors from afar. 

Little did those practical great, great grandmothers 
realize they were creating future exhibition masterpieces 
when they made hooked rugs for the “‘spare room’”’ floors 
and that they would be hung around walls and admired 
for their “design” and ‘‘color’’ by experts. 

And samplers! Not in vain did “Eliza, aged 8 years” 
toil on her daily ‘“‘stint,” cross-stitching weeping willows 
above the tombstones of deceased relatives. Time has mel- 
lowed Eliza’s naive little gesture of industry into an antique, 
a work of art. ‘There’s something very appealing and 
human about an Exhibition of Samplers. 

The promoters of the first ship model show in New 
York did not have large faith that it would be impor- 
tant, or make a very brave showing, but the announce- 
ments were hardly out when magnificent entries began to 
be received. Interested persons traveled hundreds of 
miles to see this exhibition. It was found that there were 
a surprising number of collectors. The annual shows, which 
are now held, stimulate and increase appreciation for these 
lovely things. 

Wood carving, art dolls, hand made toys, pottery, lamp 
_ shades, screens, craftsman jewelry, weaving, amateur pho- 
tography, old prints, antiques, rare books—are a few of 
the possibilities for shows. 

Art exhibitions are not so difficult to secure as might 
at first seem, for the painters are anxious to have 
their pictures shown under good auspices. The editors of 
art publications will put any committee in touch with artists 


[ 187 ] 


THE BOOK OF ENTERTAINMENTS 








who would be agreeable to furnishing a large or small 
number of canvasses. 

A loan exhibition, either of pictures or other objects, is 
easy to arrange. There are many fine things in art owned 
by townspeople and a committee should be able to locate 
these treasures and arrange for their exhibition. 

There are, too, the “‘traveling exhibits” sent out annually 
by associations all over the country—fine exhibitions of 
paintings, illustrations, advertising art, and a score of sub- 
jects. The committees in charge are always anxious to 
connect with well managed associations, for display. 

Several of the railroads have prepared very attractive 
exhibits of farming, manufacture, and other subjects inter- 
esting to or typical of the activities of the people in the 
cities and towns through which their lines run, and these 
exhibits are often secured and brought from long distances, 
and when shown are always much admired. 

Announcements soliciting exhibits should give detailed 
information. It should be stated that all entries are ac- 
cepted at the owner’s or exhibitor’s risk. Not only must 
the dates of the exhibition be given, but the dates between 
which entries must be received at the gallery. Three days 
should be allowed between the last receiving date and the 
opening of the exhibition to permit of hanging and cata- 
loguing. A postal for return is enclosed with the first an- 
nouncement, with name and address blank and spaces to be 
filled in with promised exhibits. When these postals are 
received the committee sends the prospective exhibitor 
labels or tags to attach to exhibits, with blank spaces for 
name, address and subject. 

When the exhibits begin to arrive at the gallery they 
should be unpacked and, if sent in special packing cases, 
these should be preserved and marked, so that the exhibits 
may be returned in them. When all of the exhibits have 
been received they should be canvassed by the jury. The 


[ 188 ] 


EXHIBITIONS 





unworthy exhibits should be excluded. There will be few 
of these, for not many persons have misconception of the 
value of the things they send to exhibitions. 

The first work of the committee should be to list the 
exhibits received for a record. From this the catalogue 
of exhibits should be made up. ‘This is always a last 
minute job, as the latest received exhibits may be the most 
interesting and so deserve a mention in the catalogue. The 
pictures or objects are given identifying numbers, and then 
the numbers are listed with the captions and titles and 
name of exhibitor in the catalogue. 

Identifying numbers on exhibits should be neat little 
brass check numbers when available. These may be ordered 
through art material houses. Whatever the numbers of 
identification, brass or cardboard, in no case is it fair to 
smear pictures or other artistic objects with paste affixed 
numbers, which should be placed just below or at the side 
of exhibits, or closely associated in some way, other than 
directly on the surface. 

When the pictures, or other objects to be exhibited, have 
all been massed and the time comes to ‘“‘hang”’ or place the 
exhibition, the outstanding feature should be planned for 
preferred position on each of the walls, so that the exhibit, 

when completely hung, will not have all of its gems on one 
_ wall, or at one end of the room. It is better to make all 
sides of the room interesting, and so keep the visitors to 
the show moving around the room. 

If the room is large and the number of exhibits not too 
many, perhaps all of the exhibits may be hung, or placed, 
on a single line. Or it may be necessary to hang exhibits 
on two or three lines. If a single line of exhibits is shown 
these should be hung in easy viewing position, reasonably 
close to the eye level of persons of average stature, and 
all frames hung either from a straight bottom line, or all 
hung from a common top line. If two lines of pictures or 


[ 189 J 


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objects are shown, the bottom line should be a bit below the 
eye level and the second line a bit above, while very large 
objects should have no other objects above or below. 

If a third line is necessary, because so many exhibits 
are received, or because the room is small, this is indeed 
unfortunate. The high line pictures or other exhibits 
seem to be ‘‘skied’”’ and the exhibitors will feel that this 
is so. If only the poorest exhibits are thus “skied,” and 
this would seem to be the natural arrangement, bad feel- 
ing may be engendered by such hanging and very sincere 
persons feel that they have not been properly treated. 

On the other hand if some things of very exceptional 
merit are also hung on the sky line, the same bad feeling 
will be avoided and some of the good things may have 
been done in a broad way, so that they will lose less in a 
high position. ‘This is perhaps the only great difficulty 
that a hanging committee will meet, and it is so serious in 
its possibilities for trouble that it should always be handled 
with careful consideration. 

The amount of available wall space may be very greatly 
increased by the use of screens, extending outward from 
the walls. These screens should be high enough to carry 
one or two lines, at the same height as the wall exhibits. 
‘They may be made of simple boards, edged with moulding 
frame and covered with the same material that is employed 
to cover the walls. 

Glass cases of various types may be rented at a low 
price. It will generally be found that the exhibits are 
helped when shown against a background of theatrical 
gauze, a fine but cheap material, burlap or denim. This 
may be tacked flat against the wall, or hung with slight 
gathers at the top, dropping in easy folds to reach Seige: 
to the floor or baseboard. 

During the hours of the exhibition, usually from 2 to 
6 p. m. and, if open evenings, from 7 to 10 o’clock, some 


[ 190 ] 


HEX HIBITIONS 





member of the committee with knowledge of the exhibits, 
should be in charge, seated at a desk in sight of visitors. 
It is not always necessary for the person in charge to 
volunteer information, but facts should be available for 
those who ask questions. Whether or not exhibits are 
for sale, the prices, the inspiration of the exhibit—hun- 
dreds of other questions—are certain to be asked. 

Certain exhibitions are bound to be of peculiar and 
special interest to certain persons or groups. It is well to 
have one special evening devoted to, and arranged for, the 
entertainment of these persons of special appreciation. 
Thus at the ship model show in New York several years 
ago, one evening was devoted to receiving old sailors from 
the Sailors’ Snug Harbor, another to ship masters, the 
model yachtsmen, etc. ‘Thus the show started off with very 
large attendance on these special evenings and so was 
accelerated into a big success very early in the week. 

In arranging for publicity some of the outstanding ex- 
hibits should be photographed and the photographs sent 





Cheerful shows make exhibitions popular 


[ 191 ] 


THE BOOK OF ENTERTAINMENTS 


to the newspapers for reproduction. Special invitations 
to the private view or reception should be sent to the art 
editors. 

The committee which has planned and carried forward 
a successful exhibition should not quit when the show has 
closed its doors for the last time. ‘The exhibits still need 
to be stored in safety until called for, even though the 
exhibitor himself is dilatory in calling for his own property, 
which may be very valuable. 


[ 192] 


CHAPTER XVI 
RAIsING MONEY 


A period comes in every organization’s existence when it 
not only needs, but must raise more money. If it is a col- 
lege it requires a larger endowment or a new chemistry 
building or the teachers want a faculty house with self 
polishing silver. If it is a club, a new home is desired or 
somebody has decided that the moment has arrived for 
making the library pre-Raphaelite. ‘Chere was a time when 
these occasions were met by raising funds through sub- 
scription. Every rich man, every friend of the institution, 
even veriest strangers became targets for scrolls of paper 
endited, “I hereby subscribe the sum of ——————— to 
—_—__.,”’ It was always embarrassing, moreover, to 
commit oneself to a paltry ten dollars in the same column 
where an enormous sum was promised by a mysterious and 
often fictitious anonymous giver of unparalleled gener- 
osity. Now the subscription form, while still employed on 
occasions, is happily growing obsolete and more advanced 
methods are taking its place. 

However, when raising money by subscription, several 
helpful items should be remembered. Lists should always 
be made of those who are to be approached and certain 
names assigned to certain captains or committeemen. This 
does away with promiscuous soliciting and prevents the 
unhappy possibility of overlooking a victim or the more 
deplorable probability that the same persons will be called 
upon more than once. In particular, the society at large 
should be warned against asking for donations from cer- 


[ 193 ] 


THE BOOK OF ENTERTAINMENTS 


tain influential or wealthy individuals. This may have an 
arrogant sound, but such a stand gives the committee the 
opportunity to devise the best means of approach and so 
obviate any half cocked plans. Otherwise, if the rich Mr. 
Hank is approached by just somebody in general, the 
chances are that the ensuing subscription will be much less 
than a check secured through more regular channels. More- 
over, further approach is blocked. For example, in a big 
Red Cross Drive during the war an attractive young girl 
who had worked hard for a good quota begged permission 
to solicit the subscription of a wealthy man in order to swell 
her fund. 

Little attention was paid the affair by the general com- 
mittee and permission was granted with the result that 
the fair solicitor, somewhat humiliated, returned with five 
dollars—a sum incommensurate with gifts from others of 
a similar social position. ‘There is more to getting money 
than just asking for it. Victims should be studied and 
approached from the most telling angle. Now if this pos- 
sible donor had been cornered by an older man or woman 
who had said, ‘‘Here is the contribution list on the drive. 
Mr. Dentist is giving a hundred dollars. Mrs. Butcher is 
giving two hundred and we are looking forward to having 
you double their gifts,” the result would have been more 
satisfying to everybody concerned. A campaign conducted 
in an orderly way will not only net more cash, but result in 
less acrimonious sentiments than where each member of 
the club beleaguers everybody he meets for assistance—a 
most haphazard and undignified procedure. ‘There are 
means of putting imagination into even a straight soliciting 
campaign. In a recent drive by a woman’s college, attrac- 
tive letters were sent out to various fathers, brothers and 
sweethearts asking them to join the society of Kith and 
Kin. A list was appended of imaginary degrees, each bear- 
ing a different initiation price. The Grand Master of the 


[ 194 ] 


RAISING MONEY 





Home was worth $100; The Guardian of the Hearth 
$75 and so on down a list of semi-dignified and some amus- 
ing titles. A membership certificate was sent out reading— 
“This is to certify that——————having paid into the 

College Treasury the sum of————golden Wel- 
comes of standard weight, thickness and ultra-desirability 
is not only unanimously elected and joyfully acclaimed a 
member of the exclusive society of the-——————Kith and 
Kin, but is also exalted above all others of his kind to the 
degree of-—————, a significant honor which permits him 
to snore without remonstrance from others, to go without 
his coat on hot days, to have two:helpings of dessert at all 
meals and to comport himself generally as he deemeth 
wise and prudent without criticism from any female of 
the species whatsoever for a period of one year from date.” 
While this is merely plain begging for money, it is at least 
somewhat sugar coated and that is what the new drives 
must be. 

The more advanced schemes of raising money take as 
their motto, ‘‘We give you something for what you give 
us.” In other words, commodities are bought and sold 
and the profits turned into the club. This makes cash 
extraction less painful than the old method and certainly 
more pleasant for those who are managing affairs. 

Dances, amateur theatricals, card parties, bazaars and 
teas are already quite well known as a means of making 
the public part with its money, but there are many other 
ways—some dignified, some amusing and clever. Perhaps 
_one of the best and most dignified methods which has come 
into vogue is buying up a well known lecturer such as Conan 
Doyle for a certain date and re-selling the tickets at a price 
to compensate the lecturer’s management, cover the expen- 
ses of the hall and still net a profit. Where a really big 
person or a much advertised person is selected, it is pos- 
sible to make a thousand or two with no effort at all as the 


[195 ] 


THE BOOK OF ENTERTAINMENTS 





seats practically sell themselves. It is also possible to 
buy out moving pictures houses, theatres, etc., for certain 
nights and re-sell at a profit. In the case of a big success 
tickets will dispose of themselves and people don’t mind 
the extra tax for charity. In the case of a show which for 
one reason and another is not doing good business although 
not without worth, the manager is usually willing to make 
a sacrifice on receipts for advertising purposes and tickets 
can be sold at regular rates with a profit. 

In some towns, too, the owners of amusement places have 
a regular ruling about giving their houses to charity so of- 
ten during the year. For example, the directors of the Met- 
ropolitan Opera Company have been so often asked to con- 
tribute money or charity concerts that in order to protect 
themselves they have made a regular ruling that they will 
give the Opera House to charity several times yearly. 
From a list of applying organizations selections are made 
as to their worthiness, whether they have used the house be- 
fore, etc. The organization which has received an O. K. on 
its application is obliged to guarantee the price of all the 
seats in the Metropolitan with the exception of the boxes 
and stalls. The seats are then disposed of at regular rates 
and the boxes are sold for what the organization can get. 
When the highest price box is sold at the rate of $100 it is 
possible to clear $7000 on the deal and yet be connected 
with an event which is in every way meritorious and re- 
dounding to the credit of the organization which arranged 
it. 

Where clubs are in need of money for a new building the 
best means now used is to sell bonds on the structure and 
ground. ‘These bonds run from $50 to $1000 and draw 
interest at the rate of 6%. If the property is good and 
not overvalued, the bonds make an investment instead of a 
gift and yet provide the club with the money it needs. By 
renting the basement of the building as a dining room or 


[ 196 ] 


RAISING MONEY 





something of the kind, arranging apartments, offices or 
rooms for rent, the club obtains its rooms free and has 
enough income to pay interest on the borrowed money 
and amortize its mortgage so that in time it will be free 
of debt and all the bond holders will receive their money 
back. ‘This is certainly more pleasant to look forward to 
than giving away a hundred dollars for a building one may 
never use owing to possible change in location or interests. 

In selling bonds or in raising money by subscription or 
other means, it is always well to make a game of it if 
possible. For instance, certain committees are designated 
the reds and blues, with captains, and a prize of some 
description is offered for the team bringing in the most 
money. Weekly meetings should be held in the form of 
dinners and a jolly band is always a great adjunct. In 
fact, any emotional pleas to the committee or to the 
victims are of value, for people do things under emotional 
stress they would not consider at other times. In one 
drive to benefit a hospital fund a giant sized thermometer 
was placed in a public square and the increasing donated 
sums were registered from time to time. Many people 
gave who would not otherwise have contributed, just to 
see the red line creep up toward different black figures. 
The whole psychology of relieving people of their money 
is a study in itself. 

If a wagon were filled with geraniums and sent around 
with a peddler it would take all day to convert the blossoms 
into cash, but take the same flowers to a club room or place 
of amusement and tell a story of a dear little old lady who 
has been raising cuttings for the cause and start to auction 
the flowers off with stories about each clipping, pitting one 
side of the room against the other, every flower will 
be sold at an enormous price within a few moments and 
people will clamor for more. During one of the later 
Red Cross drives in the southern mountains two enthu- 


[ 197 ] 


THE BOOK OF ENTERTAINMENTS 





‘siasts went about among the highland dwellers trying to 
tell isolated sections about the war and clinch interest by 
‘taking subscriptions. Coming to a little cabin in a sunlit 
clearing the visitors dismounted from their horses and 
pushed their way through some hounds toward the little 
dwelling’s one room. An old woman sat by the door look- 
ing out, an old man lay on the bed breathing heavily. The 
callers awkwardly explained their errand. ‘The old lady 
advised them to see Minty who was hoeing. She would go 
get her, she apologized, but her husband was dying and 
she felt she ought to stay with him. At such a juncture the 
solicitors tried to steal away, but were conducted by some 
ragged youngsters to Minty. Minty was a woman of 
perhaps thirty. After she had rested on her hoe and lis- 
tened patiently to her guests she stated quietly that she 
hadn’t much to give; that her husband had left her with 
seven little children; that her sister had died leaving three 
whom she had adopted; that her father had been sick a 
long time and she was home looking after him and her 
mother; that with so many mouths to feed it was difficult 
to make ends meet. Abashed, the callers again tried to 
steal away, but the woman stopped them and sent one of 
the children to the house for her purse which was hanging 
on the door. When the worn little receptacle was brought 
she emptied it into one of the caller’s hands. Nine cents! 
‘Tt’s all I’ve got,” said the giver cheerily. “I certainly am 
sorry it ain’t more.’’ When this little story was carried 
to the towns many who had planned to give only a dollar 
gave five which proves again the value of striking not only 
at the head but at the heart. People like to know certain 
statistics, such as that the money they are giving will buy 
seven hundred bath faucets and the like, but when all is 
said and done it is the little touch of human interest that 
opens the heart and the purse strings. 

Rummage sales have always been a popular means of 


[ 198 ] 


RAISING MONEY 





raising money. They are of value in helping the house- 
wife rid her premises of everything she does not want 
and afford a chance for the less well-to-do to pick up odds 
-and ends at a bargain. Sometimes, too, there is a chance for 
graft as in the case of the lady who sent two of husband’s 
suits to the sale only to find later that he treasured them 
and was anxiously ransacking the house for them. Natur- 
ally she sent a maid post haste to buy back her contributions 
at any price and the price was not small. These rummage 
sales have been known to net as much as $4000. Their 
success depends entirely on the committee managing them. 
A contributed room or store, good sorting and marking, 
an automobile or two to retrieve donated articles and a 
patient sticking to the job are essential. “The monotony 
of the scheme may be varied by new forms of approach 
such as one given herewith: 


Rummage now for Wellesley 

_ Do——-please do! 
Even if you rummage out 
Nothing but a shoe! 
Nothing is too poor for us 
Nothing is too good 
So rummage now for Wellesley 
As Wellesley women should. 


As a rule the really big undertaking such as a theatre 
party or leased lecturer brings in more money with less ef- 
fort than other schemes. For this reason some committees 
sneer at ideas which will retrieve only fifty or two hundred 
dollars. ‘The value of little schemes is that they interest 
some people who have not the money or the inclination 
to buy tickets for a lecture. In one drive one woman sold 
hair nets, another salted peanuts, a third waffles on Sunday 
mornings. The amounts taken in were not stupendous, but 


[ 199 ] 


THE BOOK OF ENTERTAINMENTS 





if fifty women are doing some little thing which nets only 
$35 per piece, nearly two thousand dollars, that nobody 
misses, is added to the cause. 

One energetic little bunch of women opened a tea room 
to earn money for a cause and did so well that they sur- 
prised themselves. Two men hired a hurdy gurdy and went 
after pennies with surprising results. “There are any num- 
ber of schemes which can be devised. ‘Take, for instance, 
the idea of having a good seedsman donate or sell at 
an equitable price packets of flower seeds for spring plant- 
ing. [hese are sold at honest rates and are usually in 
demand. If the club has a color it can advertise all blue 
gardens or all yellow gardens or whatever the color hap- 
pens to be. 

Instances may be multiplied endlessly, but vicinities differ 
and schemes go out of fashion. ‘The chief point is that 
value received should be given when selling goods for 
charity as for anything else. The sum may not be raised 
so quickly, but the results are more satisfactory. Slow and 
sure small gains are not to be despised. Impatient com- 
mittee members are a real hindrance just as is the woman 
who sells an article for a dollar and keeps the rest of the $5 
handed her on the plea that it is for charity. Robbery in 
the name of charity is none the less robbery. Honest 
values and honest service ensure respect for the organiza- 
tion and for the individuals connected with it. Above all 
the public likes finesse or a carefully laid atmosphere. A 
good fortune teller can read palms more easily in the sun- 
shine than anywhere else, but the monetary results will 
never be so good unless she reads them by a dirty candle 
in a ghastly cave. Certain events need to be staged. For 
this reason a committee with imagination is apt to be more 
valuable than a committee which knows all about finance 
and which passed arithmetical examinations with high 
honors. A treasurer or auditor whose figures don’t look 


[ 200 ] 


RAISING MONEY 





like hen scratching is to be desired, but the remainder of 
the committee should consist of members who can make 
the world at large believe in fairies. 


[ 201 ] 


CHAPTER XVII 
DRAMATIC PRODUCTIONS 


The selection of worthwhile material is the chief essential 
when preparing to stage a dramatic offering. The reason 
for this is that a trivial play such as may be bought by the 
hundreds for fifteen to thirty cents each and which deal 
with some insignificant subject such as, ‘‘Who lost the frat 
pin?’’ is really a waste not only of the actors’ time, but of 
the audience’s as well. While every dramatic composition 
that costs fifteen cents may not be worthless, much of the 
material sold by so-called entertainment houses possesses 
no beauty of style, no worth while theme and utterly lacks 
force and appeal. ‘There is seldom a line worth remember- 
ing and it is impossible to gain any dramatic insight or 
pleasure from rehearsing it. On the other hand, a more or 
less standardized play of unquestioned literary merit grows 
in fascination each day work is expended upon it. New 
values constantly emerge, little problems appear which 
require triumphant conquering, the lines are pleasant both 
to memorize and interpret, the actors derive a sense of 
satisfaction in being connected with something worthy, and 
long after the final performance carry the thought of the 
play always as one of their real achievements. 

There are two reasons why this style of dramatic offer- 
ing is not given more often. One is that committees do 
not know how and where to obtain such plays and the 
other is that a general fear seems to exist that anything 
up-to-date is attended by a heavy royalty and must there- 
fore be taboo. As a matter of fact, a play which has been 


[ 202 ] 


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DRAMATIC PRODUCTIONS 





popular in New York and which has enjoyed such a long 
run that it is well advertised is apt to draw a larger crowd 
and make more money for amateur producers than one of 
the high school efforts so frequently presented. After 
Seventeen and Daddy-Long-Legs achieved popularity and 
were beginning to send out road companies, several wide- 
awake organizations in small towns made arrangements 
with the producers for amateur presentation. Because the 
plays had been widely discussed, these organizations were 
enabled to charge prices which easily took care.of the 
royalty and yet netted a good profit. The policy of pass- 
ing over a play, therefore, because royalty is demanded is 
not always wise. Incidentally, the practice indulged in by 
some amateurs of using a well known play and changing 
the name to avoid royalties is not only dishonest and liable 
to subject the offenders to fines and unpleasant publicity, 
but the advertising possibilities of the play’s name are 
scattered to the winds when this is the very side of the 
play which should receive the most comment. A big current 
attraction even though it may lack the true literary quality 
which is desirable usually possesses human interest or some 
redeeming feature which, plus the advertised name, makes 
it desirable from a box office standpoint. 

A fairly safe guide when searching for a suitable play 
is to consult the bulletins and catalogues of the Drama 
League of America and the list of plays of the Little 
Theatre. Among the latter may be found such standbys 
as Dunsany’s Gods of the Mountain, The Golden Doom, 
The Queen’s Enemies, A Night at an Inn and The Laughter 
of the Gods; William Butler Yeats’ The Land of Heart's 
Desire, The Hour Glass; the various Portmanteau plays 
of Stuart Walker; the Harvard Workshop plays; plays 
of Eugene O’Neill, Masefield, Maeterlinck, Hartley 
Manners, Lady Gregory, Dreiser, Beulah Dix, Susan Glas- 
pell, Alfred Sutro and numerous others. Many excellent 


[ 208 J 


THE BOOK OF ENTERTAINMENTS 





little plays, also, may be found in back numbers of Smart 
Set Magazine. It is always desirable for a committee to 
read over even well recommended plays before buying for 
the simple reason that a script which may be ideal for one 
locality may seem entirely too sophisticated for another. 
Therefore, a play which will not offend the expected audi- 
ence is advisable and if it can produce thrills and amuse- 
ment so much the better. 

In general, a bill consisting of three one-act plays is 
preferable for an amateur performance than one three or 
five act play because the former program is more varied, 
makes use of a greater number of players, uses more scenes, 
and is apt to please a larger number of tastes. Moreover, 
three casts may be utilized, thus making it possible to put in 
one-third the rehearsal time required of one cast producing 
a three act play. 

An excellent varied bill for an evening’s entertainment 
consists of: 

The Florist Shop by Winifred Hawkridge (Brentano)— 
(A moving but humorous little story of a gum chewing 
florist’s helper with a romantic heart.) 

The Land of Heart’s Desire by William Butler Yeats 
(MacMillan)—(An Irish folk tale of faeries and a bride. 
This offers an opportunity for good dancing.) 

A Night at an Inn by Lord Dunsany (Luce)—(A hair 
raising mystery tale of the theft of a ruby from the eye of 
a Hindoo god.) 

Another interesting experiment is to present three plays 
of different countries as: 

The Constant Lover (English) by St. John Hankin— 
(Clever dialogue between a young man constantly in love 
and a young girl longing for a constant lover.) 

Autumn Fires (Swedish) by Wied (Stewart-Kidd)— 
(Two old men in an old men’s home quarrelling over a 
grandson. ) 


[ 204 J 


DRAMATIC PRODUCTIONS 





The Boor (Russian) by Tchekoff (Stewart-Kidd)— 
(The tale of a mourning widow who falls in love with one 
_ of her husband’s creditors who abuses her.) 

This bill has a more sophisticated flavor than the first 
and is perhaps not so well suited to all occasions, but it is 
interesting as an experiment and may be varied by the use 
of a French or Spanish play which may be found in Fifty 
Contemporary One-Act Plays (Stewart-Kidd. ) 

The choice of plays depends largely on the number of 
actors to be fitted with parts and the character of the 
audience. It is obvious that a list suitable for one locality 
might be most undesirable in another. Therefore, it is 
almost impossible to save a committee the work of actual 
selection. Where longer plays are desired such authors 
as Shaw, Galsworthy, Guitry and Pinero are standbys, but 
they cannot crowd out good old plays like The Rivals, 
School for Scandal, The Knight of the Burning Pestle, 
Wilhelm Tell, Richelieu, and the more recent and poetic 
Francesca da Rimini. A popular list of successes now being 
played in stock includes Smilin’ Through, The Boomerang, 
A Little Journey, Polly with a Past, Pomander Walk, 
Kismet, Peter Ibbetson, Mr. Pim Passes By, The Charm 
School, The Girl of the Golden West, Rollo’s Wild Oat, 
Monna Vanna, and Nice People. 

While plays often go out of style and need revision to 
bring them up to date, amateurs still love Bronson How- 
ard’s Banker's Daughter, Shenandoah, Young Mrs. Win- 
throp, Saratoga, and Old Love Letters. Likewise, Gillette’s 
Held by the Enemy, Esmeralda, the Professor creep in for 
consideration along with Hennequin’s Pink Domino and 
Moliere’s Tartuffe. Many of the plays well spoken of on 
the Metropolitan stage, such as Loyalties, March Hares, 
Dulcy, The Bat, He Who Gets Slapped, and Liliom are 
usually procurable in book form soon after the close of the 
play’s run. 


[ 205 ] 


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When a dramatic production is chosen either with an eye 
to its literary value, the actors it will fit or its possible box 
office attraction, and a suitable cast has been selected, type- 
written copies are made of each part. ‘This consists of all 
the lines of a given character preceded by a cue line, as: 
Ha ke vant never had no iiens 

SETH (rising) You ever tell an’ [ll skin yuh alive. 

Ta ALLELE 
SETH—Yuh know what [’ve got on yuh!” 


* 


Many actors find it easier to memorize where they see 
only their lines and cues on paper. ‘Therefore, they are 
seldom given copies of the entire play, although this is 
read at the first rehearsal in order that the players may 
have some conception of the general scheme of things. 

There are some eccentricities about script which are un. 
familiar to new actors. By left and right, for example, is 
usually meant the left and right of the actor as he faces the 
audience, or, in other words, stage left or stage right. 
Down stage refers to that portion of the stage toward the 
footlights while up stage is the reverse. When an X is 
found in the business of the script it calls for a movement 
across the stage. Enter calls for the actor’s appearance 
on the stage while exit is his signal for departure. 

While a director is always essential in staging a produc- 
tion, since it is necessary that there must be a conductor 
or interpreter to assemble the different parts and bring 
harmony out of the whole, it is well for the actor to remem- 
ber certain salient points, as it will save him much criticism 
from the front. 

1. One of the oldest amateur tricks is to play too far 
back stage. Facial expression is necessary as well as words 
and the audience is entitled to both. Actors who get over 
do not hug the up stage wall. 

2. Enunciation should be distinct. For this reason ama- 


[ 206 ] 


DRAMATIC PRODUCTIONS 





teur acting is an excellent corrective for those who have 
a tendency toward slovenly speech. Yelling is not necessary, 
but the voice must be thrown out to carry. It should be 
remembered that others in the house besides the front rows 
are entitled to hear, and the director’s orders, ‘‘Now sell 
it to the gallery—-sell it to the gallery,” may well be kept in 
mind. 

3. In general, beginners in stage craft are apt to over act, 
putting in numberless gestures and unnecessary movement 
just to show how at home they feel. As a matter of fact, 
steps, which the business of the play does not call for, can- 
not but appear forced and many meaningless gestures 
irritate an audience. 

4. When a move is made it should have the appearance 
of naturalness and be the outcome of action. In order to 
achieve ease of movement, the actor should be in such con- 
stant and perfect physical balance that he can shift from 
one position to another on a moment’s notice without awk- 
wardness. 

5. When a movement is once started, the actor should 
see it through. If, for instance, it is necessary to place 
a book upon a table down right, the player should walk 
up to the table and not stand in the center of the stage 
and try to reach over to it without traversing the entire dis- 
tance. This may seem an unnecessary instruction, but 
much stage awkwardness is due to the actor’s inability to 
walk when it is demanded. If actors would bear in 
mind the necessity of short steps and enough of them to 
insure approach to an object instead of the eternal boarding 
house stretch, the stage presence would be greatly improved. 

6. A cardinal rule of acting is to watch the eyes of the 
person addressed. If this is not done the actor gives the 
impression of “speaking a piece.’ Where the director 
trains the recipient of dialogue to listen properly, conveying 
his thoughts or concealing them by his expression, this reac- 


[ 207 ] 


THE BOOK OF ENTERTAINMENTS 





tion will give the speaker the proper impetus for his actions. 

7. Entrances are extremely important. A bad one can 
practically ruin the remainder of an actor’s work for the 
evening. A good one may prejudice an audience greatly 
in his favor. In order to secure a good entrance it must 
be made on the cue. Many amateurs intend to do this 
and they wait for the cue. Suddenly out of the jumble of 
words upon the stage, the waiting actor recognizes his 
cue, catches his breath, tries to think of his opening line, 
and starts to go on. By that time there is silence, a hitch, 
the tempo of the play is lost, and the entrance hurried and 
awkward. The good player usually memorizes for an 
entrance not only his cue, but also what he calls his get 
ready cue which usually comes two or three speeches before 
the actual cue. Thus, if the real cue is, “Ouch!” the get 
ready cue may perhaps be, “Don’t come any nearer!”’ 
When the waiting actor off stage hears this, he takes his 
facial expression, goes over his opening line and in general 
gets up steam for his entrance on “Ouch!” By following 
this method it may be seen that there is no loss of headway 
as is possible if the brain does not begin to function till the 
actual “Ouch!’’ is spoken. 

8. Not only should entrances be on cues, but all speeches 
should be on cues unless otherwise directed. A pause 
between each speech of dialogue can ruin the best play ever 
written and make it absolutely hopeless. In order to avert 
any such calamity the actor must mentally time the speeches 
of the others so that he will not cut in ahead and spoil a 
possible point or laugh or lag behind and hold up the tempo 
of the play. 

9. In comedy the actor should learn not to talk through 
the laughs of the audience. ‘This is very difficult, for often 
laughs come at different times and cannot be absolutely 
prepared for. Nevertheless, the actor should teach him- 
self to stop without appearing to do so, allowing the laugh 


[ 208 ] 


DRAMATIC PRODUCTIONS 





and getting under way again with no effort as if nothing 
had happened. 

10. A deplorable amateur trick is the intoning of prose 
in an attempt to make it sound poetical. The strongest 
player usually sets the key and the others tune in. This 
is a state of affairs every director dreads, for when a cast 
once starts it and acquires the notion it is doing something 
artistic, TNT and a cyclone combined are not strong enough 
to bring about reform. Asa matter of fact, even in poetical 
plays character and contrast must be achieved. In order ° 
to get these the actor should remember his own character- 
ization and strive to make it important without emulating 
the voice and mannerisms of another. 

11. If an actor has no conception of the part handed 
him, he should talk it over with the director in preference 
to an outsider, for the director knows how he wants the 
part played and it is easier for him to suggest in the begin- 
ning than to change misconceptions after the player has 
started on the wrong path. In one small town a director 
had the exasperating experience of encountering a whole 
cast with the enunciation, intonation and mannerisms of the 
village school master who loved to read plays. Knowing 
the pedagogue’s aptitude for the drama each player ap- 
proached him separately and asked to be shown how to 
read the part. ‘Thus fortified all appeared before the 
director. This poor man instead of starting in to rehearse 
the play had to spend days undoing the chanting of the 
teacher faithfully portrayed by nine actors. ‘Three of the 
_ nine could never be made to believe that the director was 
right and the reader wrong with the result that instead of 
a live play the director was forced to sponsor a recitative 
of singsong. 

12. Many amateurs as well as professionals brag that 
they never begin to act until they are before an audience. 
While it is more or less true that the crowd furnishes the 


[ 209 ] 


THE BOOK OF ENTERTAINMENTS 





incentive for the best work, yet the actor who does not 
indicate to the director what he means to do or of what 
he is capable is making a serious mistake. Where the actor 
conceals his intentions either through laziness or for other 
reasons the director is apt to build up the play from 
another angle. When, therefore, the secretive one suddenly 
comes forward the opening night to show of what he is 
made he is likely to disrupt the balance of the play besides 
ruining the team work of the cast which is absolutely 
essential to a good production. 

13. One actor should never attempt to “‘hog”’ the stage. 
While he has the center of the stage it is his privilege to 
put himself over to his utmost, but when another is in the 
limelight no attempt should be made to steal the attention 
of the audience. By this it is not meant that a character 
must drop his impersonation. It is possible to smoke, 
knit, chew and do many things in character without actually 
bidding for the eyes of the house. 

14. It ought to be perfectly obvious to every actor when 
he is standing with someone else between himself and the 
audience and yet bunching is one of the most common 
troubles of the amateur showman. Every actor should 
remember that the stage should be kept in continual balance 
and that the director is striving for a series of stage pic- 
tures. A group photographer invariably has to drag for- 
ward this one and rearrange that one so that all faces are 
visible, otherwise the completed picture is sure to have a 
messy and amateurish appearance. ‘The same is true of a 
stage picture. Different members of the group must show 
and show in proper relation to one another. While much 
of the actual arrangement is in the hands of the director, 
the actor can help by not hunching behind another char- 
acter. It is easy to take a step or two to the right or left 
even if the other character has somewhat lost his correct 
position. 


[ 210 ] 


DRAMATIC PRODUCTIONS 





15. The wise amateur usually rehearses with props. A 
needed mirror, for example, may not be at hand during 
rehearsal time, but a stick of wood or bit of pasteboard 
should be used so that lines may be learned coincident with 
business. Where this is done lines suggest business and 
business suggests lines thus making it almost impossible for 
the actor to forget his part. Furniture is seldom available 
for early rehearsals, but chairs may be placed to represent 
settees, tables or other objects which must be circumvented 
or used. 

16. Many amateurs are given to ad libbing. While it is 
impossible to make the statement that this never is funny, 
it is safe to say that it seldom is. Many of the fancied 
extemporaneous speeches on the real stage are carefully 
planned and rehearsed to give this effect. The actor, there- 
_ fore, who thinks he has some good ideas to add should talk 
them over with the director in order that the play will not 
be built out in the wrong spots and also to give the other 
players an opportunity of knowing what may happen. In 
one of Al Jolson’s plays, the comedian had a scene where he 
described catching a fish. Mr. Jolson’s chief amusement 
was to get a new and unpronounceable name for that fish 
every day in order to hear the girl who was supposed to 
repeat the line after him stumble. In as much as she was 
in on the joke and knew she was supposed to make a fool of 
herself it always went well, but had the comedian sprung 
the idea without preparing the young lady a catastrophe 
might have resulted. 

17. It seems almost needless to mention the advisability 
of trying to feel and be a character. A shrinking old 
lady does not talk or act like an independent, sharp little 
old lady. A blind or lame person usually has certain 
mannerisms. Naturally when the actor conceives his part, 
he should play it consistently, not trying to be French one 
moment, English another. 


[ 211 ] 


THE BOOK OF ENTERTAINMENTS 





18. Finally every actor should study his part for bus- 
iness, language and values. He must decide which parts 
to throw into relief and which to tone down, and, above all, 
he must cooperate with the director who will seek to enforce 
some of the suggestions herein noted. 

If all work together to present the chosen play as 
worthily as possible, the result cannot but be creditable, and 
often it is really inspiring. 


[ 212 ] 


CHAPTER XVIII 
REVUES AND VAUDEVILLE 


A revue or vaudeville show is a performance consisting 
of many unrelated acts. The former may be built around 
a single motif and is usually brought up to date by bur- 
lesques on recent books, plays, current events or town 
happenings. A vaudeville is more generally a hodge podge 
of numbers with no attempt at cleverness, style or satirical 
qualities, but aiming to present a variety of acts calculated 
to please the appetite of some special audience. Each is 
excellent in its way and the choice depends on the particular 
audience which is to be reached. 

The great advantage of either over the straight drama is 
that it utilizes a larger cast and the larger the cast the 
greater the drawing power of the show. It is apt to be 
more popular than a serious play because the latter must 
perforce have as author Shaw, Dunsany, Guitry, Pinero or 
someone else and this stamps it in such a way that persons 
with strong predilections are sure to say, ‘‘No, I never did 
like a Scrap of Paper and I certainly am not going to see it 
mangled by an amateur cast.’’ A revue on the other hand 
must be largely original and nearly always piques curiosity 
since its very nature suggests there will be satirical allusions 
to local matters. Also, it is so varied in character that if 
one number is poor, it may be glossed over and forgotten, 
for if any work at all is put into it, the staging of an alto- 
gether poor revue is almost impossible. Not only is the 
good revue apt to please more of an audience than a play, 
but also the cast usually prefers it since there are fewer 


[213 ] 


THE BOOK OF ENTERTAINMENTS 





lines for individuals to memorize and the very variety 
keeps rehearsals from tedium. 

There was a time when all amateurs gave Pinafore 
and Pirates of Penzance and everybody had a jolly time. 
So called operettas have gone more or less out of date not 
because there is anything intrinsically wrong with them, 
for it is doubtful if anyone will ever again write as good 
lyrics as Gilbert and Sullivan, but because fewer persons 
seem to study singing than formerly and the public has 
grown more critical of untrained voices. The revue gives 
all the effect of music and jollity without necessarily con- 
taining many, if any, singing voices. 

The preliminary plans for the show comprise the most 
difficult step of all, as there is either too much material 
from which to select or not enough, and painstaking con- 
struction and building are necessary. ‘The organization 
which has its own writers is in a very fortunate position, 
but it is not essential that all matter should be original. 
The chief problem is to select a varied entertainment— 
some music, some dancing, numbers that are pictorial, 
comedy scenes, travesties on current events and the like. 
The usual arrangement of these numbers is to alternate 
them, but this is more or less governed by the necessities of 
the scenery. 4 successful revue must contain no waits be- 
tween the different scenes. In order to accomplish this 
every number is not given on what is called a full stage, 
i. e. the entire stage. This is divided into three sections 
and scenes are set within scenes so to speak and peeled off 
like the layers on the old fashioned candy jaw breakers. 
The three sections are numbered from the audience toward 
the back of the stage and are known simply as, One, 
Two, Three, and the technical parlance is a ‘‘Scene in 
One” or a “Scene in Two.” Now interiors for small 
living rooms, laborers’ cottages, boudoirs, etc. may 
be set between One and Two. Some comedy scenes where 


[214] 


REVUES AND VAUDEVILLE 





there are not more than three characters and which do not 
require set pieces or props may be done in One. Good 
monologues should be scheduled for One, also numerous 
musical numbers such as vocal quartettes, banjo numbers, 
and the like. An attractive Japanese curtain with musicians, 
garbed in Nipponese costumes, playing instruments in front 
of it makes a charming little picture in itself.. Again the 








3 


The stage is divided into sections to make quick scenery 
changes possible 





curtain and musicians may be Russian in character or negro 
in character or what one will. 

Frequently the same idea may be carried throughout 
for scenes in One. For example, in one of Ed Wynn’s shows 
every scene in One consists of actors appearing to interview 
the producer about obtaining jobs. Wynn inquires what 
they can do and tries them out. This gives opportunity for 
comedy, musical and acrobatic numbers and contributes 


[ 215 ] 


THE BOOK OF ENTERTAINMENTS 





a semi-personal touch that an audience always loves. In 
one instance a quartette appears and after getting consider- 
able amusement out of their pronunciation—a sort of 
reincarnation of the old Frank Daniels’ oblongata or 
oblongetta gag Wynn plays the piano for them to sing. 
Again it is a tumbler; another time a boy who can bark 
like a dog a hundred miles off (Simply opens and shuts his 
mouth) and do an imitation of one, two and three gold 
fish (Wiggles one hand, then two hands, then two hands and 
tongue. ) 

On the other hand tiny playlets may be produced in One 
with no properties. ‘These little plays are scarcely more 
than animated anecdotes and yet they serve to kill time 
while the stage is being set. For example, in a recent pro- 
fessional show two men enter in One. A says he 
must run home, kiss his wife and get ready for dinner. 














B says, “Do you mean to:say you still go through 
that old bunk of kissing your wife when you come in and 
go out?” 

To which A retorts, ‘“Of course! Women appre- 


ciate it and it helps everything to run smoothly. Well, 
good-bye, old chap, I must go.”’ ‘Thereupon, A exits 
and Mrs. B enters. B steps up to her, kisses 
her and is amazed when she bursts into violent sobbing. 
‘“Why what’s the matter?” cries B \ 
“Matter!” sniffles his wife. “I’ve had an awful day. 
The butcher won’t let us have any more meat because you 
haven’t paid the bill; the cook’s left; the sink’s stopped up; 
and now now you come home drunk!” : 
There is a laugh from the audience, black-out or darkness 
on the stage and everything is in readiness for another 
little number in One or for a larger stage if it is ready. 
Where expense is a serious item and only one curtain or 
drop can be used as background for acts in One, it is better 
if material of a neutral hue is employed. It may be lined 


[ 216 ] 

















REVUES AND VAUDEVILLE 





pineapple cloth (75c per yard) or velvet or monk’s cloth or 
anything else ornamented with a little appliqued design or 
left bare. Some simple property such as a basket of cotton 
will give sufficient atmosphere for mammy songs, and other 
equally simple objects may be used to, denote various 
locales. It should be remembered, however, that scenes in 
One should not be complicated by many properties as their 
only raison d’etre is to make a quick-away for other scenes 
possible. 

It is well to make sure that there will be sufficient pleas- 
ing numbers in One so that the real scenes of the show may 
be set behind while these are in progress. The usual revue 
or vaudeville performance is divided into two acts contain- 

ing from sixteen to twenty-five scenes of three to fifteen 

“minutes each. It is better that no scene should consume 
more than ten minutes, but occasionally where there is a 
good one act play or spectacular number which exceeds that, 
the rest of the bill is cut so the programme will not run 
over time. From 8:30 to 11 is as long as any audience 
cares to sit still and it is better to have fewer numbers and 
do them well than many numbers of less quality. 

Not only must material be selected and arranged with 
an eye to variety and swift scenery changes, but there are 
also certain notes to be remembered. The opening should 
either be a chorus or a noisy number of some kind in 
order to get the audience in a good humor and settled 
for the more quiet acts to ensue. ‘The finale of the first 
act should usually be an ensemble number with catchy music, 
a good punch and hurrah to it, as the audience may then 
be intrigued into awaiting Act Second after the intermission. 
The finale of the show should always be spectacular, gay 
and musical so that the audience will depart in good spirits. 
More than one otherwise excellent show has been utterly 
ruined because a solemn one act play was scheduled for the 
finale. Slow moving material should seldom be placed in 


[ 217 J 


THE BOOK OF ENTERTAINMENTS 


the second act, as the audience is beginning to tire and 
wants things to jazz up. Often a number that will win 
no applause in the second act will be received more 





100 ILLUSTRATORS 


(The Men and Women whose work 
you see every day) inthe 


Society of IMlustrator’s 
Annual Show 


The Century Theatre Roof 


FRIDAY AND SATURDAY 
MAY ne &I2 1923 


CURTAIN B15 


Mlistrators Show hog Ween 
Si ohne to the Suk Bic 


Scener the ILLUSTRATORS 
Seethec Ol cus of FAVORITE MODELS 


TICKETS 3.30 INCLUDING THX 
on sale at TheArtCenter 65 E 56S 
andat the Century Theatre Box Office 


A good poster contributes to the success of a revue 


[ 218 ] 








REVUES AND VAUDEVILLE 





favorably if put higher up on the bill. Exact placing 
is an art that comes with more or less experience, but it 
is just as important as good material and the two must 
go hand in hand to obtain a worthy performance. 

Where the organization is of some particular character, 
the show gains value if material is connected in some way 
with the general theme. For instance, the following pro- 
gram given by the Society of Illustrators was varied and 
yet more or less applied to art. From a critical standpoint 
it is over long and insufficient acts in One were planned. 
In this case the numbers were so exceptional that the audi- 
ence remained until after twelve, but it is not advisable to 
set such a precedent. 

Scene 1. Truly Murals a sketch showing what 
happens when the state comes to market for fine art. This 
ended in the rapid posing of a burlesque mural. 

Scene 2. Our Favorite Models a bevy of wooden 
mannekins representing gaily gowned chorus girls. ‘These 
worked hands, heads and feet in time to music when pulled 
by unseen strings from behind. A handsome tenor sang 
the song to accompany them. 

Scene 3. The Palette through one of these large 
painter’s accessories walked semi-draped models. While 
singing the accompanying song the artist took down spots 
of color from the palette and flung one over each girl. As 
each spot of color was a gown the models were soon parad- 
ing in all hues of the rainbow. 

Scene 4. The Critic a satirical sketch on the pompos- 
ity of the critic. 

Scene 5. The Fly Swatter’s Ballet a ridiculous 
dance done by a number of men dressed as housewives 
chasing a small man garbed as a fly. 

Scene 6. The Bus a humorous sketch depicting some 
artists en route to Greenwich Village. 

Scene 7. Nothing to Do a sketch showing an artist 


[ 219 J 























THE BOOK OF ENTERTAINMENTS 





and his different models and popularized by the artist’s on 
the spot sketches. 

Scene 8. The Magazine Stand showing a number of 
gigantic magazine covers against a black back drop. 
Against each cover was posed a figure garbed in accordance 
with that particular magazine’s standards of pictorial dis- 
play. As the traveller who could not make up his mind 
- which magazine he would buy, sang his song, the different 
persons from the covers walked down and recited their 
merits in humorous verse before doing a little dance with the 
traveller. The number ended with a big ensemble of music 
and dancing. 





Yas & Ol ben 


Scene 1. Murder a spectacular and serious play 
about an author who did not wish to change his manu- 
script to please an editor. ‘There was music and dancing 
in this act and the novelty of a telephone and every day 
objects which grew to gigantic heights. 

Scene 2. More Mannekins. 

Scene 3. The Remuddled House 
the craze for interior decorators. 

Scene 4. Men Who Make the Nation Laugh 
dancing and drawing act by famous cartoonists. 

Scene 5. Japanese Prints posed tableaux with music 
and a soloist. | 

Scene 6. The Fashion Show depicting two dummies © 
in a garret discussing styles while out of the darkness the © 
toilettes of 1892, which they visualize, appear to old tunes. 

Scene 7. The Fatal Wedding colored slides humor- 
ously illustrating an old song. 

Scene 8. A Dancing Marathon in One. 

Scene 9. Queen Tut’s Tomb showing art objects 
brought from the tomb. ‘This was in two parts—a humor- 
ous dialogue in One before a drop with the tomb painted on — 


[ 220 ] 








a sketch depicting 

















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REVUES AND VAUDEVILLE 





it and a full stage scene into which this opened showing the 
interior of the tomb and a ballet of Egyptian wings. 

All these numbers were introduced by an attractive 
feminine artist with a poodle who went in front of the 
curtain to announce the next scene by placing the number on 
the dog—a valuable idea when for any reason there is 
indecision as to what order scenes are to be played owing 
to necessary late arrivals of certain performers. In this 
case scenes were numbered by letters in the alphabet and 
the dog wore letters to conform. ‘The program announced, 
“Scenes in the order of their appearance—if they appear!”’ 

This program calls attention to the fact that practically 
impromptu numbers are frequently the hit of a show. The 
cartoonists, for example, because of their newspaper duties 
said that they could not take part in the performance 
if rehearsals were necessary. As a result, a little dance 
number was devised for them in which they did steps in 
unison while each man spoke one line of a ridiculous comic 
song. They had two rehearsals—just enough to know what 
they ought to do without having acquired the facility of do- 
ing it. When the performance started no two men did 
any given thing at the same time—a state of affairs that 
reduced the audience to hilarious tears. Somehow, there 
was something sublimely humorous about watching a body 
of the best known men in the country—whose salaries 
mounted into the hundred thousands if not into the mil- 
lions—and seeing them turn the wrong way at the wrong 
time. 

Well known persons cannot always give the time for 
rehearsals and yet their names have great drawing powers. 
In such instances, they can be utilized by bringing them 
on while a silhouette or crayon artist makes a quick sketch 
or in other ways. One method in getting a laugh is to 
raise the curtain a foot or two above the floor and have a 
number of well known persons walk behind it. The audi- 


[ 221 ] 


THE BOOK OF ENTERTAINMENTS 





ence is then offered a prize for guessing which feet belong 
to whom. Considerable merriment usually ensues from 
this experiment especially where the people participating 
are celebrities. 

A program need not consist of all original features as 
was the case with the above program nor need it have a 
single motif nor be jazzy to be effective. An attractive 
bill given at a summer resort with a cast drawn from all 
the summer hotels consisted of an opening number of 
Dunsany’s The Queen’s Enemies which is very spectacular, 
followed by a humorous scene satirizing various people and 
events about town. ‘This, in turn, was succeeded by 
the Floradora sextette done by children under six years 
of age. A spectacular number called The Lily Boat was 
next shown and was displaced by a closing number called 
the Bubble Dance. From a critical standpoint this show 
had too many pictures and not enough humor, but it ‘erred 
pleasantly on the side of being not overly long. 

The most interesting consideration about this perform- 
ance was that the stage was absolutely ceiled in. There 
were no wings and no overhead, or flies, so that a real prob- 
lem in the way of scenery was advanced. In general, this 
was conquered by a number of drops or curtains fastened 
to the ceiling by screws, rolled tight against the ceil- 
ing when not in use and hidden by borders which con- 
sisted of two foot flat strips of blue cloth fastened to the 
ceiling the entire width of the stage. The Queen’s Enemies 
was presented first because its setting was so massive and 
needed so much actual fastening to the floor that there was 
no time to put it up after the show started. The set con- 
sisted of a heavy stairway right, a partition of gray build- 
ing paper decorated with Egyptian characters, a door in 
the partition, a banquet table and couches, a back wall 
through which the Nile was to flow, and Egyptian murals 
on building paper fastened to the blue drop that was to be 


[ 222 ] 











Photos ‘by “Apeda 
Six types portrayed by the clever actor, George M. Rosener, showing 
that facial expression is more important in characterization than grease 


paint. (See pagee 259.) 


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REVUES AND VAUDEVILLE 





used for other numbers later. With gorgeous costumes, 
dim lighting and a slight spotting of characters, a most 
effective scene was achieved with practically no material 
with which to work. In order to get the effect of water, 
rolling pins with belts were turned in the hole in the back 
drop. Tinsel scarves were fastened over the rollers and 
rice dropped over them while in motion, When the room 
was thrown in darkness and a flashlight turned into the 
hole, while a man behind the scenes rolled a large box of 
pebbles from side to side, the sound and appearance simu- 
lated water rushing into the room. 

This scene was struck or torn away while the humor- 
ous dialogue was in progress in One, then a curtain or 
drop was unrolled in Two by simply cutting the string 
which held it up. This effective piece of scenery was made 
by sewing together two pairs of borrowed green portieres | 
on which was stitched gold paper to make the trunk of a 
gorgeous tree bearing applique flowers of all colors in a 
rich design. ‘This really stunning background was used 
for the children in the Floradora number. The little boys 
wore white pajama trousers, starched stiff, dark coats, 
big boutonieres, and straw hats. The little girls were 
attired in pink paper hats with streamers under the chin, 
white dresses and pink sashes. They carried pink parasols., 

Directly behind this curtain everything was set for the 
Lily Boat which consisted of a dark blue back drop against 
which was placed a four foot yellow lily painted on build- 
ing paper tacked to a screen door laid horizontally with 
two blocks behind to hold it in place. Above it at the back 
rose a pink sail made of cheesecloth. When the curtain 
went up a pretty girl gowned in green floating draperies 
and wearing lilies in her hair rose up, apparently in the 
lily, but really from a chair behind. She began singing a 
haunting barcarole with a good rhythm. Whereupon the 
line of girls, bowed in front of the lily, joined hands and be- 


[ 228 ] 


THE BOOK OF ENTERTAINMENTS 





gan a rhythmic movement of arms and heads so that they 
looked like the sea with their green dresses and lily covered 
hair and arms. They sang the chorus of the girl in the 
boat and made a very lovely picture. The costumes con- 
sisted of two pieces of cheesecloth sewed together at the 
neck with enough space for head passage and were dyed 
by dipping different portions in different shades of green. 
‘The scene was, in popular parlance, a knockout and did 
not cost ten dollars all told. 

For the Bubble number the Lily Boat was slipped off the 
stage. Four illuminated columns (See Scenery) were 
erected and finished with bases made of dry goods boxes 
covered with gold leaf. A green backing bearing a gold 
moon was placed at the central entrance and a spray of 
cherry blossoms protruded gracefully in front of this. 
The base of the blue drop was massed with rhododendron 
boughs and dahlias. ‘This made a very fitting picture for 
the young girl in flowing draperies who gave a dance with 
an irridescent balloon while different colored lights were 
thrown upon her from the sides by means of colored 
gelatines. 

These examples of amateur production are not given 
as perfect types of a show, but are mentioned because each 
received praise in its way and was put on with much pre- 
cision and distinction. The Illustrators’ show was produced 
after six weeks of rehearsal of from two to three nights 
per week with every night utilized the last week. The 
summer resort show was planned, constructed, rehearsed 
and put on in three weeks of rehearsal with three nights 
rehearsal per week. 

Aside from quickly made changes in scenery the gen- 
eral snap, vim and detail of one of these shows is what 
impresses the crowd. ‘This, of course, calls for careful cast- 
ing and tireless rehearsals. It is customary for the general 
director of a revue or vaudeville show to lay it out care. 


[ 224 ] 


REVUES AND VAUDEVILLE 





fully and know what he wants done and then assign danc- 
ing numbers to a good dancer to be coached and the 

musical numbers to a musician. Most amateur organiza- 
tions wait until the last moment to get their music which 
is a serious mistake. Music should be decided upon early, 
for if original music is used, time is required for orchestra- 
tion, and if borrowed music serves, it will be found that 
many tunes will require trying out before just the right 
melodies are found. It is not generally known that or- 
chestrations of all popular songs may be procured free or 
for twenty-five cents per set from the music house pub- 
lishing the songs. These may, of course, be worked in to ad- 
vantage in many ways and save the bother and expense 
of orchestration. Large music houses will also, of course, - 
orchestrate original music for a price, depending on the 
dificulty of the melody and the number of instruments 
to be provided for. Eight pieces is about the minimum, 
but sometimes four of the right kind can make more noise 
and more melody than eight of the indifferent variety. 

When possible an orchestra, even though small, should 
be used, as it gives a festive air nothing else produces and 
puts the actors on their mettle. The orchestra leader 
should play the piano for all music rehearsals. If one man 
plays for rehearsals and another conducts on the opening 
night, the effect will be indescribable chaos, for one has 
learned to accentuate certain beats to fit certain steps and 
even a dress rehearsal is not enough to straighten out 
discrepancies. If a musical director is used from the start, 
he will care for all music and cue it, which is an extremely 
dificult task. Otherwise, the general director or a member 
of the committee must attend to this. Where an orchestra 
is not possible two pianos or even a piano and violin are 
a great help. 

In calling rehearsals, it is well to begin first with the more 
dificult numbers or sketches and give them intensive re- 


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THE BOOK OF ENTERTAINMENTS 





hearsal for some time before starting the remainder of the 
show, then the rehearsals for the numbers first started need 
not be so numerous. Naturally only the people are called 
who are in the sketch scheduled. Later it is not a bad 
idea to call two sketches for the same night so that one 
set of actors can see what the other set is doing. ‘This 
starts a little rivalry and accustoms the actors to an audience 
early in the game. It is not fair to the actors to allow 
spectators when parts are first being learned and directed, 
as an audience at that time creates undue nervousness and 
irritability. While rehearsal dates are usually announced 
at rehearsals, the director is wise who keeps a card index 
and sees that the general notice is supplemented by post 
cards. Naturally telephone numbers and addresses should 
always be kept so that in event of sickness of one or two 
principals in one sketch, the rehearsal of another sketch 
may be substituted. ‘The best results are obtained by 
having regular nights for certain acts as this helps to 
reduce non-attendance excuses such as, “‘I thought we were 
to meet Thursday night. I didn’t know you wanted us 
last night.”’ 

When costumes are planned, it is better to have them 
turned out at one place even though the cost may be a 
trifle more. It is never a saving for individuals to make 
their own clothes, for even if they use the same pattern, 
the effect varies and there is nothing more distressing to 
an audience than a chorus with skirts of varying lengths. 
For real flashes of effect there is nothing more effective 
than a set and costumes of the same color, as all green, all 
yellow, etc., but attractive notes may also be obtained by 
contrast, as scarlet costumes against a black or silver 
background. 

It is seldom possible to rehearse from the beginning on 
the stage which is to be ultimately used for the performance. 
Therefore, it is essential that the stage which is going 


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REVUES AND VAUDEVILLE 





to be used should be measured and the actual space allotted 
a given number be reproduced on the rehearsal stage. 
Props and setting should be planned for. For example, 
if there are four steps at the rear for a certain number, 
the director should count ‘‘One, two, three, four” for the 
actors to walk on before the actual number starts. 

At least two nights, and three if possible, should be 
allowed for running through the entire bill with scenery, 
lights, costumes, etc., that the actors may become familiar 
with the routine and that the show as a whole may be 
speeded up. When one number is thrown into relief by 
another it may prove too long, too short, too slow moving 
or something else. In this case it may require cutting, the 
introduction of extra matter or a new position on the bill. 
Sometimes it is found that exits and entrances have been 
made too slowly. These can often be re-arranged so as 
to cut as much as five minutes from an act. There is no 
doubt that general rehearsals are very valuable for get- 
ting a perspective on the show and a point should be made of 
having every actor present. In a professional show, acts 
which do not seem up to par are eliminated during these 
last rehearsals. This is almost out of the question in an 
amateur show where there are so many society ramifications 
with A , Z's sweetheart, and M , L’s mother and 
the like. It is only possible to give lagging acts extra re- 

hearsal and try to put new life into them. 

A show of magnitude where there are perhaps twenty 
numbers is no day’s job. Yet it need not terrify if planned 
sufficiently long in advance so that details may be worked 
out painstakingly and rehearsed carefully. With this as 
with anything else the attitude should never be, “It’s good 
enough,” but rather, “Is it Just as good as it can possibly 
be made.” 








[ 227 J 


CHAPTER XIX 
SCENERY 


Scenery has ceased to be the bugbear for amateurs that 
it once was. This is largely due to the fact that the trend 
of the times is toward simplicity and suggestive settings. 
Indeed, absolutely elementary settings are the vogue abroad 
and still have a certain novelty and charm in America. 
Also, except in rare cases, amateurs no longer need worry 
about filling a whole stage with scenery and accessories 
as it has been demonstrated that many plays can be effec- 
tively produced in a small area, thus making it necessary 
to utilize only a fraction of the stage. 

There was a time when would-be showmen were forced 
to rent a painted canvas set from the local theatre or have 
it made at considerable expense. Once paid for it seemed 
criminal to throw it away and the set or sets were placed 
in storage after the performance, on the forlorn possi- 
bility of future use. After storage charges began to mount 
to more than the cost of production a new regime in com- — 
mittees usually took it out and burned it or refused to pay 
storage charges and so left the bonfire to vindictive fingers. 
The whole matter brought up acrimonious dissension when- 
ever mentioned although the original committee acted in 
good faith. 

As a matter of fact sets designed for one play are rarely 
if ever just exactly the thing for something else. In mute 
witness of this are the car loads of scenery which theatrical 
producers destroy every year. For this reason the painted 
set is the most extravagant that can be bought. Moreover, 


[ 228 J 


SCENERY 





it is difficult to strike or shift; difficult to dress or decorate; 
and almost always looks what it is—not a room or a forest, 
but simply some yellow and green paint on canvas. It 
hinders the imagination rather than aiding it, as is the case 
with the more simple poster ideas in setting. ‘The only 
real advantage of the painted set over the more modern 
ones is that the ceiling, which it must perforce employ, acts 
as a sounding board and so helps to project the voices of 
the actors to the audience, but this does not compensate 
for awkwardness of handling, ugliness or the necessity of 
many sets when exteriors and more than one interior are 
necessary. | 

Modern designers have created a scheme which makes 
it possible to play straight drama or musical comedy within 
the same walls merely by introducing different properties 
or small set pieces such as cardboard trees, house tops or 
whatever is called for by the exigencies of the situation. 
The chief item of expense and the most important part 
of the scene consists of a cyclorama. This is a curtain 
which extends around the stage in semi-circular form begin- 
ning at one end of the proscenium and ending at the other. 
It is hung by means of three battens. These are strips 
of wood about three inches wide which may be purchased 
at any lumber yard and cut the length required. The 
cyclorama is tied to the battens and pulled up by means of 
ropes where it is hung at the proper height. In a stage 
with no overhead space, as often occurs in town halls and 
school houses, the battens may be laid flat against the 
ceiling and screwed into place. It should always be re- 
membered, however, that in placing this, as in setting any 
scenery, a passageway must be preserved between the back 
wall visible to the audience and the actual stage wall in 
order that scene shifters and actors may pass from one side 
to the other unobserved. Aside from the pictorial possi- 
bilities of a cyclorama, it is of advantage because it may 


[ 229 ] 


THE BOOK OF ENTERTAINMENTS 


be rolled up and dumped in somebody’s attic for future 
use or, if it never graces the stage again, it may at least 
be cut up for sofa pillows or portieres and so prevent 
utter waste. 

For an organization which gives more than one play 
annually or which expects to make use of its scenery again, 
there is nothing more satisfactory than a black velvet 
cyclorama which costs about one dollar and fifty cents a 
yard wholesale. However, if this seems too expensive, 
very good cycloramas may be made from any color sateen 
which costs about twenty-seven cents wholesale. For 
an unusually effective and satisfactory cyclorama there is 
nothing prettier than cotton voile hung over a sateen back- 
ing of a sand or putty shade. Whatever the color chosen, 
the borders, wings and backing should be the same. 

The borders are merely plain strips of cloth hung to 
conceal lights, curtains or anything else which may be sus- 
pended in the air. Seldom more than two borders are 
necessary, but this of course depends on the number of 
drops or curtains which may be hung in front of the 
cyclorama. 

The wings are masking pieces set inside of the proscenium 
on each side of the stage to keep the audience from looking 
off stage. They are very essential and together with a 
border hung above them make what is called the false 
proscenium which is in reality a frame for any picture that 
may be shown on the stage. Therefore, it may be deco- 
rated with artificial flowers, embroidery,, applique designs, 
stencils, tassels, shields, or left entirely bare. It should be 
set back three feet from the real proscenium to permit of 
entrances at the front and a point should be made of seeing 
that the cyclorama is tacked to the wings so that it does not 
part when players are moving behind. 

Backings are pieces hung or set behind openings so 
that the audience can see only that part of the stage intended 


[ 280 ] 





Design by George Illian 
(Fig. 1) 


A bookshop consisting of a painted flat piece against 
a cyclorama. 





Design by Edward A. Wilson 
(Fig. 2) 


Elizabeth’s Court in Greenwich Village, showing the 
use of set piece and cyclorama. 





RNR RRR sis 


Design by Edward A. Wilson 
(Fig. 3) 


An English baronial hall made with a window, 
set mantel and a cyclorama. 





Design by George Illian 


(Fig. 4) 


An easy Oriental set of streamers, throne, and pil- 
lows against a cyclorama. 


SCENERY 





for its view. There must be at least three of these as 
the cyclorama is so made that it has an opening in the center 
back and in the center on each side. Incidentally, the folds 
of the cyclorama should be lapped over at least three feet so 
that the opening will resemble a solid wall when not in use. 
When desired for exit the cloth may be looped up and that 
is when the backing, which is set a few feet from the velvet, 
is of advantage. | 

These details arranged, it is then possible to make any 
number of charming poster rooms or exteriors by merely 
adding colorful notes in the way of furniture, painted pro- 
file board or what not. The accompanying sketches show 
how the same room was transformed from a bookshop, 
(Fig. 1) made by setting a painted flat piece against the 
cyclorama, and from Elizabeth’s Court in Greenwich Vil- 
lage, (Fig. 2) made in the same way (with a real clothes 
line and wash, real ladder, etc., added for effect) to an Eng- 
lish baronial hall. (Fig.3) In order to do this a wooden 
mantel was built, painted the color desired and set against 
the velvet. ‘The window was made by using a frame 
like a skeleton wing. On this was stretched transparent 
cotton voile of a delicate green shade against which was 
placed black tape to represent mullions. On each side of 
the window a little side piece or flipper eighteen inches 
wide and covered with black velvet projected off stage. 
When a light was thrown back the effect achieved was 
of a really beautiful window. Naturally this may be made 
any size or shape by the same method. In this instance, 
the backing, it will be noted, was a painted one depicting 
a futurist thunder storm. ‘The entrances were effected by 
valences of a color contrasting with the black velvet cyclo- 
rama, hung at the right height for a doorway in the open- 
ing made by looping back the cyclorama exits. From these 
valences hung light silk curtains. Valences may be made 
round, oblong, scalloped or what one will, stencilled or 


[ 281 ] 


THE BOOK OF ENTERTAINMENTS 





covered with cloth and set at any height according to the 
heroic proportions desired. 

It is well to bear in mind in this connection that mantels, 
real doors, etc., may often be picked up at bargains from 
wrecking firms, but it is always possible to have a carpenter 
construct what is necessary. If worst comes to worst, al- 
most any object may be built of cardboard, but it is not a 
bad idea to have some items in the set look substantial. 
Whatever he does the worker should not lose heart be- 
cause some wiseacre bounces forward with the information 
that Egyptians used doors that turned on a pivot and that 
green gave the Sarapoo Indians astigmatism and was there- 
fore taboo by them. While authenticity is always desirable 
it should not be allowed to spoil the effect in scenery, 
especially when the sets are frankly designed to suggest. 

The same know it all should contend that the outdoor 
scene cannot be done without bugs and swarms of gnats, 
and yet a very satisfactory outdoor effect in a big profes- 
sional show was obtained by placing a real automobile under 
a poster tree painted on profile board. On the other side 
of the car was a profile board signpost. Very simple! 
Very inexpensive! Yet twice as effective as a canvas set 
full of smeary trees, and nobody missed the gnats and 
hoot owls! 

By putting in painted stained glass windows and perhaps 
a few columns and adding real pews, a church scene is made. 
Perhaps there is nothing more valuable in the way of stage 
decorating than illuminated columns. ‘These may be used 
in conjunction with a stairway set up stage center or with 
attractive benches or large and gay pillows or a profile 
fountain or urn ornamented with artificial flowers or what- 
ever is called for by the occasion. 

The method of making a column is to take some cheese- 
cloth or cotton voile of the color, length and width de- 
sired. ‘The sides of the cloth are joined in a seam and the 


[ 282 ] 


SCENERY 





top and bottom of this strip are then each firmly sewn to 
a strong circle of wire. ‘There is a cross piece of wire or 
tin in the upper circle so that wire or cords may be affixed 
for pulling it up to the ceiling or the flies where it is hidden 
by the borders. Naturally the wires must not sag, as it is 
the stretching that gives the column effect. Sometimes the 
top is not carried from sight, but is covered by a dome of 
flowers and left visible to the audience, the wire which 
suspends it being practically invisible. The lower part of 
the column is usually cared for by a base of wood. This 
may not be anything more elegant than an ordinary dry 
goods box with a hole cut in the top smaller than the wire 
ring. This will hold the lower end of the column firmly 
and the base may be made attractive by the use of flowers, 
Dutch metal, fire cracker paper, gold leaf or paint. If 
a light is set in the dry goods box—and it need be nothing 
more than a strong pocket flashlight or two—the effect 
is startling. However, the columns do not require light- 
ing for effectiveness. A scene more or less dark is more 
beautiful with the columns illuminated, but where a bright 
light is thrown on the scene an excellent picture is made 
without the inside lighting. For instance, a very pretty 
country club scene was made by using several of these 
white cheesecloth columns to give a Colonial effect and 
setting them against a green backing. A ruffled border 
of green maline upon which were fastened a few leaves 
gave the effect of foliage. “Iwo bay trees and some pretty 
benches completed the picture which was as cool and entic- 
ing as anything that could be imagined. ‘The columns 
in this instance were not lighted. 

These columns are not only effective for all varieties of 
exteriors and interiors, but are also useful in more fanciful 
sets, as for example, a cave of jewels. In this case 
a wire frame with two or three peaks to it and made 
like a hat frame is set up stage center. This base is covered 


[ 238 ] 


A 


THE BOOK OF ENTERTAINMENTS 


with a skirt made of silver cloth. Upon the lower half 
of this are thrown blue and green lights while a pink spot 
is cast on the top. If rings are fastened to the top of the 
skirt, it may be raised to quite a dizzy height with great 
effectiveness, providing enough material has been allowed 
and is much more easily managed than a mountain of pro- 
file board. In front of the mountain and on either side 
is set an illuminated column. Each of these has a skirt 


ee Lceeea omar 


Laat Bees 


The construction of a cloth mountain and cheesecloth column hung 
by wires 





of silver cloth for a base. ‘This skirt is carried up as 
high as looks well by ropes which are jewelled with any- 
thing that sparkles. For this purpose bugle beads are 
good or small pieces of mirror pierced for sewing. Cut 
spangles from any old gowns, which may be borrowed or 
stolen, and even small tin spangles, such as the tin washers 
used for tar paper, are excellent. If the scene is darkened 
and colored lights thrown on the columns and mountain 
it is sure to get what is professionally known as a “‘hand.” 

When it is necessary to make an Oriental scene, it may 
be done in several ways. One of the simplest is to take 
a long bright curtain and hang it above the center of the 
stage so that one long end trails on the floor in the form 
of adrape. (Frontispiece). In front of this is set a huge, 
bright colored cushion surrounded by other cushions of 


[ 284 ] 


SCENERY 





less magnitude. Against the cyclorama is placed what is 
called a row of cardboard and behind this wall are arranged 
cardboard cut-outs painted to represent minarets, the tops 
of houses, etc. Again, an Oriental scene may be made very 
simply by dropping two strips of bright colored sateen 
and fastening the bottom by means of painted blocks. 
(Fig. 4) Folds of gorgeous sateen or other material 
may be caught above this and a big cushion may be set 
up stage with a painted back of profile board or linoleum to 
represent a throne. Perhaps it sounds too simple, but as 
a matter of fact when the scene is filled with rich costumes, 
the effect is one of opulent splendor. 

Another scheme which is excellent for displaying any 
number of scenes is to go back at least three quarters of 
the stage and make a frame piece. ‘This may be an old 
bit of scenery or merely four strips of wood nailed together 
in the form of a rectangle which should be braced with other 
strips. [his frame work is then covered with cloth of 
any desirable shade, or, indeed, the cloth may be hung 
without using a framework. ‘The chief task is to arrange 
for a circular or square opening in the center about ten 
feet wide. A wing of the same material should be placed 
on each side and a border above. On the quarter of the 
stage left behind the circular opening, two feet should be 
allowed for passage and then a blue drop should be hung 
at least three feet from the opening. A platform three 
feet wide and eighteen inches high should next be erected 
in front of the blue drop and behind the opening, with two 
steps for entrance toward the audience. ‘This done, it is 
now possible to indicate any number of sets in this opening. 

Suppose a roof garden is to be depicted. A piece of 
canvas painted to resemble a railing is set against the 
back part of the platform while on the platform are placed 
several small tables and chairs. ‘The tables are dressed 
with attractive little scarves and bear flowers or lighted 


[ 235 ] 


THE BOOK OF ENTERTAINMENTS 





candles. In the body of the scene down stage and on each 
side of the circular opening may be set more tables dressed 
in the same manner. The blue drop with a light on it will 
represent sky or, if desired, a cardboard row painted to 
represent building tops may be set against the sky. In 
this case, however, care should be exercised with the lights 
lest undesirable shadows be thrown on the drop. It may 
be seen that this scheme gives the use of the whole stage 
for a big chorus when necessary and yet indicates the setting 
with very little cost and labor. It is particularly adapted 
to small stages. 

If the next scene is, for example, a modiste shop, the 
same blue curtain is used with a different colored light 
thrown on it. Stands with hats are now placed on the 
little platform; also, a tiny console table or two with sprays 
of flowers. On the stage proper are placed settees, more 
stands for hats and attractive chairs. 

Where a pirate number is essential, it can be done very 
easily by leaving the back drop a vivid blue and hanging a 
moon in front of it while a decorative pirate ship painted on 
flat scenery is partly dragged upon the platform. 

A scene on the deck of a steamer is done by setting - 
a painted cardboard smokestack and funnel against the back 
drop and placing a camp chair or two in front of it. Camp 
chairs may then be brought down on the stage proper if 
there is need for them. 

A bathing beach may be achieved by the use of a bright 
awning, camp stools and a gay umbrella or two. 

Again, suppose the number is to illustrate well known 
composers. A piano is set down stage right and to this 
come various musicians, made up as Beethoven, Liszt, etc., 
to play their selections. ‘They, of course, may not perform 
at all, merely keeping their hands going in rhythm to the 
music played off stage. Suppose Beethoven’s Minuet is to 
be rendered. ‘The little platform at the back is shown with 


[ 236 ] 


SCENERY 





an arch made of profile board over a small profile statue in 
the center and flanked by a profile hedge on each side. 
Dancers in minuet costumes come down the steps from the 
circular opening and perform the Minuet. The music 
over, the front or house curtain drops a second and the 
next scene is hurriedly set. For Liszt’s Hungarian Rhap- 
sodie, a bright sunset sky is painted and set against the drop 
and a yellow tree of profile board is arranged against this. 
Dancers descend the steps and do a wild folk dance. For 
Mendelsohn’s Spring Song, the drop is left blue and a tree 
of pink blossoms is done in profile and set against it. Again 
dancers appear and do poetic dancing. 

Endless scenes may be devised according to necessity, 
desire and taste, but enough suggestions have been given 
to show that it is not essential that the whole stage should 
be set with massive scenery for every number and that 
the business of scenery for theatricals is more simple than 
generally supposed, providing thought and ingenuity are 
put upon it. 

There are several helpful points to be remembered when 
starting a production. One is that though cheesecloth 
is generally recommended to amateurs, cotton voile is 
about the same price and keeps its shape better. The 
other is that material which may seem beautiful in a store 
will not always carry across the footlights. New producers 
have been known to select materials at twenty and thirty 
dollars a yard for upholstery and hangings because they 
looked well when the salesman moved them about in his 
hands. Expensive upholstery seldom shows off to advan- 
tage on the stage where it is stationary. Small patterns 
never carry. Burlap and sateen with patterns stencilled 
in gold or silver or gold and a color will look more regal 
than anything that can be bought. 

Floor cloths are usually essential to a scene in order 
to deaden noise and give a general tone. A black floor 


[ 287 J 


THE BOOK OF ENTERTAINMENTS 





cloth is better than anything else with cyclorama sets, but 
occasionally a rug of a neutral shade may be borrowed. 

Grass is usually made by using dyed ‘Teddy bear cloth. 

Poster trees more elegant than the painted profile board 
may be made by cutting the profile board into required 
shapes and tacking on black velvet or black patent leather 
or oil cloth. For a tropical scene, the trees are effective in 
vermilion patent leather or oil cloth. 

Linoleum is extremely valuable for giving thickness to 
an arch, as it can be curved easily. It may also’ be carved 
and painted to represent beautiful medallions and general 
decorations. Very unusual gates may be constructed from 
this. 

When it is necessary to paint profile board and other bits 
of scenery, it is best to get scene painter’s colors from the 
paint shop. If this product is used, it should be remem- 
bered that it always dries out several shades lighter than 
it is put on and due allowance should be made. The pro- 
file board or other surface should always be primed before 
the final coat is applied. For example, if a blue mountain 
is to be painted, it is first laid in with a blue color even if 
it is not the shade which is to be used later. ‘This gives 
body and makes it possible to lay on the final coat without 
the paint being absorbed. ‘The usual method of using 
scene painter’s paint is to take a can of water and melt 
glue in it. The paint, which comes in powder form, is 
then mixed with a little water to the consistency of lard and 
placed in convenient bowls. ‘The painter then dips his 
brush first in the size and then in the lard. In this way 
he can use various colors from the different bowls. Oc- 
casionally, where a great deal of paint is to be used of one 
color and a volunteer crowd is on hand to help, it is just 
as well to let the paint store mix it. When scene painter’s 
colors are unprocurable the dealer can usually supply a 
water color paint which will do as substitute. 


[ 238 ] 


SCENERY 





The possibilities of scenery are endless. ‘The profes- 
sional theatre progresses daily in this regard and there 
is no reason why amateur productions should not be more 
up-to-date and beautiful. The chief thing is to throw fear 
to the winds and wade in confidently, trying out this idea, 
bettering it, building upon it, showing it under different 
lights until the ultimate goal is achieved. Good results 
require patience and a willingness to remain up all night, 
or two nights, till things look right, but when a little mur- 
mur of “ahs” runs over an audience as the curtain rises 
on a scene that may not have cost twenty-five dollars, the 
committee chairman or scene designer or whosoever saw 
the production through will taste a moment of bliss that 
can seldom be duplicated. 


[ 289 ] 


CHAPTER XX 
STAGE LIGHTING 


Usually the beginner in stage craft is able to devise 
scenery and costumes that seem passable; moreover, he may 
train his cast to give a distinctive presentation of the 
chosen play, but when he comes to stage lighting he feels 
as if he had encountered his Waterloo. ‘There always 
seem to be so many lights back stage, and yet how to get 
at them and what to call for is a problem that balks even 
more or less experienced producers. To add to the diffi- 
culty, many theatrical electricians seem to take a special 
joy in turning on the opposite switches from those called 
for; moreover, they usually have a preconceived notion 
of how a scene should be illumined, are anxious to get 
through, and make it extremely embarrassing for the pains- 
taking person who wishes to try out effects. 

It is only by patience and working with different schemes 
that results are possible and the bad lighting, not only of 
the amateur, but the professional stage as well, is due to 
the fact that too few producers realize the value of correct 
lighting and hence do not allow proper time for experi- 
mentation. A really beautiful set may be absolutely ruined 
by an incandescent blaze; a very poor set may frequently 
be made attractive by proper use of the electric mechanism 
available. 

Every photographer knows that the good kodak view 
is one which displays light and shadow. A picture with 
no contrast is nearly always flat and uninteresting. The 
same is true of the stage. It is or should be a picture and 


[ 240 ] 


STAGE LIGHTING 





if every light in the house is turned upon it, giving back 
drop and proscenium the same value, there can be no allur- 
ing nooks, nothing suggestive or imaginative. If the scen- 
ery is painted, brush strokes, cracks and all imperfections 
stand out to destroy the reality or beauty of the picture 
which should be created. Partly from ignorance, partly 
from exhaustion because the lighting comes last, or the 
committee or director is too worn out to bother, most 
scenes are usually given too much light. 

The proper way to get effects is to throw the stage in 

darkness and then decide what the principal source of light 
would be. If it is a daylight scene and the sun is streaming 
‘in at a given window, this would be judged the principal 
source of light and should be first arranged. When it 
is satisfactory, other lights may be thrown on and gauged 
by the first light. If the scene is an exterior at dawn, the 
source of light would naturally be from the sky and should 
be arranged first, other lights being added later and sub- 
dued to correspond with the key lights. 
_ Many directors follow an old and inexplicable tradition 
of lighting all exits. ‘Thus, a character often walks from 
a garden into a hall which is blazing with light. As a 
matter of fact, experience shows that hallways and ante- 
chambers are usually more or less shadowy and cool. 
Therefore, they should be made more inviting and should 
not illumine the entering actor like a messenger from 
heaven. 

Comedians usually call for a great deal of light, and, 
‘also, vain actresses. They claim that they cannot get 
over otherwise. ‘his is nonsense. Anyone who has ever 
been thrilled by a good talker at a camp fire or in a hut 
in the woods during a black storm can attest that the 
shadows often make an atmosphere which adds a hundred 
per cent to a situation. 

In general, lights are listed as borders, strips, foots, spots, 


[ 241 J 


THE BOOK OF ENTERTAINMENTS 


baby spots, and floods. The latter are also known as 
bunch lights or one thousand watts. Borders are lights 
arranged in tin troughs and hung back of the scenery 
borders above the stage. ‘These are for general utility 
purposes and are always used where an overhead light 
such as that from the sky is desired. 

Strips are used when only a certain portion of the stage 
is to be lighted. They may be hung or placed anywhere 
and come in sections, three, four or five feet long. If, for 
example, a bit of hedge is to have special lighting, a strip 
may be placed behind it. 

Foots are the lights well known even to the laity. They 
repose in a trough at the front of the stage and are on three 
circuits furnishing straw, white and pink lights. ‘The chief 
value of the foots is to soften the shadows cast by the 
overhead lights. 

Spots give a concentrated and sharp light and do not 
spread out over space. When a particular actor or cor- 
ner is to have a concentrated light a spot is used. Spots 
can be thrown from the front of the house or from the 
wings. Often they are raised to the borders for focus- 
ing upon some special point. If a very small light is de- 
sired, as just enough to illuminate the head of a Buddha in 
an Indian scene, a baby spot is demanded. 

Floods of thousand watts are arranged for use where 
very powerful light is required. ‘These as well as all other 
lights, with the exception of the foots, may be used 
advantageously with gelatines of various colors secured 
in frames to keep them from breaking.’ A gelatine is a 
fragile isin-glass appearing substance which may be 
bought at any calcium light concern by the sheet in nearly 
any color. When held before an ordinary white light it 
throws any hue desired. It is of value in that it makes 
possible rapid and instantaneous changes as red. to blue, 
blue to green, green to yellow. 


[ 242 J 


STAGE LIGHTING 





Dimmers are rheostat devices to dissipate the intensity 
of light, permitting control of the volume of light, which 
by its use may be carried up to full strength or reduced to 
low value. Theatres have dimmers for each color circuit 
of foots, borders, pans, floods, floor box plugs, etc. Many 
halls where amateur performances are given have switch 
boards with more or less dimmer equipment. The circuits 
may all be separately controlled, as when it is desired to 
slowly lessen or increase the value of a particular light, or 
the individual dimmer levers may be moved by a bus bar, 
connecting all dimmer control levers, permitting all lighting 
to be subdued or brought up to full strength, gradually in 
one motion. ‘Thus, changes from darkness to dawn, to 
daylight, are accomplished to simulate nature itself. 

Dimmer equipments, contained within a trunk, may be 
rented from stage lighting firms, and are frequently sent 
out of town, with an expert to connect the dimmers to 
local wiring, and to operate the lighting board. 

The most common lights with which the stage is equipped 
are amber, straw, white, rose or pink, and blue. Comedy is 
generally played in a white light. Straw gives a mellow 
light and is usually demanded for exteriors. Pink fur- 
nishes a more delicate light and is often used with white for 
interiors. Straws and amber together give the effect of 
sunlight such as midday. Rosy lights together with blues 
combine to give the effect of dawn. Of course, no two 
scenes are alike. Each presents a different problem which 
must be solved by experiment, but it is some aid to know 
that a pale yellow light is a straw and a darker one an 
amber. 

Occasionally, in small towns, the stage equipment con- 
sists of white lights only. In this case small buckets may 
be ordered of a substance called Colorine. ‘This turns 
ordinary light globes, when dipped, into the color desired. 
It is always necessary to dip the globes while the current 


[ 243 ] 


THE BOOK OF ENTERTAINMENTS | 


is on as the globe must be hot to take the color. It is then 
allowed to dry. To accomplish this, the bulbs may be 
attached one after another to a movable wire. 

Different lights have varying effects on different colors. 
Straws and ambers for example, are apt to make blues, 
lavenders and purples look muddy. A cobalt blue will 
receive a pink light, but an amber or straw is almost sure 
to kill it. A turquoise blue will take amber and not pink. 
A red light on green will turn it muddy. 

As a rule actresses who are approaching the dangerous 
age, begin calling for a rose light on the assumption that 
it softens their features and makes them more youthful look- 
ing. The light which is helpful to the actress may not 
always be effective for the set and a compromise is fre- 
quently necessary. 

On small stages where there is a ceiling and no over head 
space and where no borders or other lights are available, 
very good effects may be obtained by taking ordinary tin 
funnels and attaching them to the ceiling at points desired, 
furnishing them with the color of light necessary. These 
may be turned at any angle and will throw a blue stream > 
of light on a mysterious stairway or in other ways aid the 
producer. An electrician can run the necessary wires 
in a very short time even from a circuit that is not 
powerful and the results are worth while, for such simple 
appliances will give a glamour and imaginative quality to 
the stage picture that will more than compensate for any 
trouble and time expended. When available a few X-ray 
reflectors will serve even better and they may be obtained 
from commercial fixture concerns. | 

Because lighting is difficult and stage crews are not 
always helpful, the tendency invariably is to say, “Oh, well, 
let it go,’ but if the person thus speaking could ever see a 


[ 244 ] 


STAGE LIGHTING 





hastily lighted set changed from its garishness by an expert, 
with a bit of sunlight here, a cool sky beyond the balcony, 
a shadowy stairway at one side, and other little artistic 
touches, lighting would be given the attention it deserves 
and requires. 


[ 245 7 


CHAPTER XXI 
STAGE PROPERTIES AND DRESSINGS 


Many regard properties as a word applying to any 
accessory handled by an actor during the course of business. 
As a matter of fact, it has come to include stage decorations 
and furnishings so that even mantels and fireplaces are now 
listed under the head. Exceptions arise where what would 
ordinarily be a prop is fitted with a working light. In this 
case it becomes electrical and falls under the province and 
care of an electrician. 

It is often customary in regular productions to rent prop- 
erties until the play is either established or proven a loser. 
In the former case the properties are then purchased; in 
the latter they are returned. In the larger cities regular 
houses exist which furnish stage necessities to the movies 
and the professional stage. In smaller towns antique 
shops and general merchandise stores may be combed for 
desired items. Often merchants are willing and sometimes 
glad to lend phonographs or other required pieces in 
return for a program notice. Borrowing from friends 
has always been a favorite method of securing rugs, neces- 
sary chairs, mirrors, etc., but this method should not be 
indulged in unless there is one person who will be re- 
sponsible for the care and safety of everything which has 
been secured as a loan. House owners often cherish their 
possessions, and scratches and dents which mean nothing at 
all to a casual theatre attache often cause real distress to 
those who have been generous with their treasures. 

Many props and stage dressings are easily evolved with 


[ 246 ] 


STAGE PROPERTIES AND DRESSINGS 





a little time and ingenuity. Often most inexpensive 
objects may be treated so that they look exceedingly rich 
under stage lights. For example, two newel posts back 
stage may be decorated very effectively with large tin 
strainers if the latter are set on blocks of wood, painted 
an attractive green, shellacked and filled with trailing vines 
or bright flowers. If the treatment is right these rather 
ordinary utensils take on the appearance of unique little 
urns. In the same way cheap, ordinary statutes and stat- 
uettes of wood or plaster may be turned into soft hued 
bronze works of art by the use of oil paint which will also 
change ten cent wooden bowls, birds, etc. into real majolica 
ware. Moreover, there is an advantage in this counterfeit- 
ing since the faked pieces will withstand hard Se: 
better than the originals. 

Tassels are a helpful adjunct in stage dressing. They 
are efiective when hung from bracket lights or over pic- 
tures as part of the suspending cord, from the center of 
electric light drums, from the light cords of floor lamps, 
and from table runners or scarves which may be made of 
odds and ends of pineapple silk, sateen or other left over 
material. Articles that frequently appear cheap at close 
range look much better under stage lights. In fact, expen- 
sive objects sometimes do not look as handsome as copies. 

Very good lacquer tables, cabinets and the like are manu- 
factured, for instance, by painting suitable furniture with 
yvermilion, sable or blue coach paint. Indeed, a great deal 
may be done with cheap furniture if the lines are not hope- 
lessly bad. If it is painted a soft French green, perhaps, 
the striking color note will usually keep an audience from 
observing the type of furniture, especially when much of it 
is hidden by drapes, pillows and similar dressings. 

At present old fashioned flower paintings are much in 
vogue. Anyone with a slight aptitude for art can paint 
one of these, especially by following a small model procur- 


[ 247 J 


THE BOOK OF ENTERTAINMENTS 


able from the Metropolitan Museum of Art, New York. 
If the picture, when dry, is given a coat of dead lac in which 
is mixed a little dark green or brown the crudest picture 
will take on the appearance of an antique and make a very 
effective addition to a scene. Screens may be made in the 
same way or ordinary burlap or wooden screens may be 
transformed by the use of gold or silver Dutch metal 
antiqued. Really lovely screens are always helpful, espe- 
cially for difficult corners. An attractive bell pull often 
adds color and helps to disguise an otherwise bare wall. 

Mirrors should be hung carefully so as not to reflect the 
footlights and audience. If this is impossible it is often 
feasible to dress a mirror without glass, particularly where 
it is above a dressing table, by arranging drapes on each 
side and at the back of the mirror where the glass should 
be. ‘The effect achieved is that of the flowing drapery at 
the sides being reflected in a real mirror. 

Drapes or throws always add to a set, particularly when 
they are unusually lovely or colorful. ‘They may be 
arranged on couches, hung from balconies, placed over a 
piaho or hung on the wall. 

When the person in charge of props or stage dressing 
is somewhat unfamiliar with household decoration very 
helpful hints may be found by consulting the interiors 
depicted in many of the lovely illustrated magazines to be 
found on the bookstands. Although wrought iron lanterns 
and such things shown in the pictures are very expensive, 
many of the items can be duplicated for stage effect at 
slight cost. Pillows are another helpful adjunct to a scene. 
They should carry out the color scheme of the room or 
add some colorful note instead of being used merely as 
pillows. | 

Flowers are as important on the stage as in the house. 
Bare and unattractive rooms are often transformed in 
every day life by the use of foliage and flowers. The same 


[ 248 ] 


STAGE PROPERTIES AND DRESSINGS 





is true of the stage. Naturally care should be exercised 
that forsythia, lilacs, dogwood and other spring shrubs are 
not used in a scene supposed to take place in August or 
dahlias, asters and chrysanthemums displayed in May. 
Above all flowers should make an attractive color note. 
Indeed, it should be kept in mind that all objects of decora- 
tion should be placed not merely as objects, but to carry out 
a definite color scheme first of all. They should either be 
in harmony or afford colorful contrast. Effective window 
draperies, unusual light fixtures, and other distinctive fur- 
nishings practically ‘‘make’’ a room, but of course every- 
thing should be suitable. A tiny cottage is more alluring 
with dainty calico curtains, table runners and pillows to 
match than if something more pretentious is used. Baronial 
halls on the other hand naturally call for tapestries, velours 
and heavier furnishings. 

Often the person selected to bring in tumblers, bowls for 
breaking, candles, fruit, and other necessities does not know 
where to start or how much ought to be paid for them. The 
best place to begin is at a ten cent store, as it is surprising 
how many necessities can be picked up there. What it 
lacks may be secured later at more expensive shops. It is 
interesting to remember that even cheap glass may be 
given an appearance of elegance by applying turquoise, 
vermilion or gold sealing wax artistically at the right spots. 

Properties which are apt to soil or to be spoiled by hand- 
ling should be kept in bags constructed to fit them. Small 
properties such as books, book ends, cigarette trays, table 
covers, etc. are best laid in small clothes baskets, as else- 
where mentioned. In this way all articles for a scene are 
_ kept together and very easily carried on and off the stage. 
A prop list is always essential especially where the property 
man is not a professional. Unless a careful “plot” is pre- 
pared, necessary articles are sure to be lacking at the 
crucial moment. 


[ 249 | 


THE BOOK OF ENTERTAINMENTS 








Properties and stage dressing are important. ‘They are 
the details which give the final convincing note to a scene 
and cannot be selected and arranged with too much care 
and accuracy. There is no excuse for a sixteenth century 
dagger in a fourteenth century setting or pictures by famous 
artists at a period before they lived. 

Finally the stage should not be over cluttered with 
objects. A few items well placed will give an air of elegance 
or simplicity according to the needs of the set, but a great 
many odds and ends make a restless audience and serve no 
good purpose whatsoever. 


[ 250 J 


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Photo by Underwood and Underwood 


The annual Park Avenue Street Fair in New York is an outstanding 
example of what may be accomplished in open-air festivals. (See page 127.) 


CHAPTER XXII 
STAGE COSTUMES 


When Drinkwater staged in London his long heralded 
play, Robert E. Lee, pictures of the actor taking the lead- 
ing role were dispatched to America. They appeared in 
all the photogravure sections of the papers and caused con- 
siderable merriment because the Confederate uniform bore 
the letters ‘‘U. S.”’ on the collar instead of three stars, and 
also displayed “‘U. S.” on the belt. Since practically every 
history in existence contains a military photograph of the 
great Southern leader such a mistake is not readily ex- 
cusable. 

Indeed, productions which require any uniforms should 
receive unusually careful attention from the costumer or 
a historian should check up on them, for military and ecclesi- 
astical clothing is worn according to established custom and 
cannot be tampered with unless the producer is willing to 
subject himself to the merriment of an audience which may 
_ chance to be informed. Of course exceptions are made with 
uniforms and costumes of mythical kingdoms. With these 
one person’s imagination is as roseate as another’s and at — 
least there will not be a possible old campaigner in the 
audience to murmur, ‘‘Those boots ought to make Grant 
kick in his grave.” 

There are many conventions about clothes which require 
some research work. Different colleges, for instance, pos- 
sess various unwritten codes. At Wellesley no undergrad- 
uate is allowed to don a cap and gown until her senior year. 
In some other institutions cap and gown are worn not only 


[ 251 ] 


THE BOOK OF ENTERTAINMENTS 








throughout the course, but are obligatory. Certain men’s 
colleges prescribe styles of headgear. In consequence, to 
have a Freshman appearing from such a place with Derby 
and cane would, under some conditions, be rather provoca- 
tive of mirth. 

Again different nations have different castes and classes. 
In India, for example, a man of low caste would not dare 
don the habiliments of a Parsee. In Japan, the clothes of 
various grades of society bear certain symbols and at one 
time dire penalties were imposed upon those who dared 
affect any fabric not woven for them. It is obvious, there- 
fore, that the amateur who fancies any handy kimono is all 
right for the girl playing the part of a princess is liable to 
a good laugh at his expense when someone recognizes the 
insignia of a sing-song girl. ‘These items may be so easily 
verified that they are worth the extra time and labor, if 
for nothing more than to make the actor feel that he is 
right, 

It is an accepted fact that individuals in every day life 
are greatly affected by the clothes they wear, ill fitting suits 
causing self-consciousness and a lack of ease while proper 
raiment insures ease and self-confidence. Naturally this 
psychological fact is true to an even greater extent on the 
stage where the actor’s nerves are keenly alert to every pos- 
sible vibration. 

Again, there are conventions about proper dress for 
occasions and it is well to take these into account. The 
stage is a target for the eyes and insignificant discrepancies © 
which would possibly pass unnoticed at a tea cannot but 
stand out with startling distinctness when shown under many 
lights. 

For this reason special care should be exercised, not only 
with the style of clothes, i. e. to see that they are of the 
correct period or worn according to the mode, but also to 
make sure that they are well fitted and adapted to the 


[ 252 ] 


STAGE COSTUMES 





individual wearer. An actress with piano ankles for in- 
stance, should devise some sort of draped gown to lessen her 
infirmity rather than expose it with very short skirts, even 
though the latter chance to be the vogue. ‘The reason for 
this is that some people are so easily affected by physical 
peculiarities that they could never lift their eyes above the 
knees of the unfortunate player even though her voice be 
pure silver and her face radiant as the sun. 

Bunchy looking dresses should be taboo since they have a 
tendency to accentuate ungainliness and any awkwardness 
on the stage is doubly noticeable. In general, too, very 
dark dresses are inadvisable in light comedy scenes, espe- 
cially when played in gay little sets, for in such cases the 
continual dark spot in a bright setting is apt to form a 
distracting note. Again the would be actress should be 
careful of selecting gowns laden with heavy fringe, beads 
or any loose trimming that is liable to catch. Of course it 
is impossible to say, “Never wear a gown with fringe,” 
because such a costume on certain occasions might be fea- 
sible and appropriate, but the actress would do well to 
think over her various scenes and if, for example, she has 
an impassioned love scene on a willow settee the chances are 
greatly in favor of a portion of her gown catching at a 
crucial moment thus ruining her emotional headway and 
perhaps evolving an undesirable snicker from the audience. 

Gowns need not always be expensive to be effective. 
Often dainty fresh organdy or muslin frocks are quite be- 
witching with garden hats and bright faces. Naturally, 
however, skirts should hang to perfection and hose and 
slippers should be trim. 

When it comes to a choice of colors, Mrs. Exe will begin, 
“T never could wear yellow. Even as a child it made me 
sick. I don’t know—I guess I’m queer—but I just can’t 
wear it—that’s all—I just can’t wear it,’ and Mrs. Tee 
will object, ae kills what little color I have. I simply 

[ 253 ] 


THE BOOK OF ENTERTAINMENTS 





daren’t put it on—my horoscope says my astral body’s 
blue and it just swears so at any color it doesn’t like that 
my nerves are all in commotion, really.” 

As a matter of note, the fact is usually overlooked that 
with the make-up necessitated by stage lights, individuals 
can carry colors which would be impossible on the street. 
The safest shades are perhaps oranges, yellows and greens, 
as it is difficult to spoil these no matter what lights are 
thrown for scenic effects. ‘To the contrary, care should be 
exercised in the selection of blues and mulberry shades. 
While these look effective in a white light they appear 
rusty or black under other lights. If they are worn, there- 
fore, it should be ascertained what lights will be used. 

Of course, there are many other colors the use of which 
depends on individual requirements and the needs of the 
production. It is always well to test out the actual color 
and fabric under the lights which are to be used before pur- 
chasing any quantity. ‘he reason for this is that of two 
materials of an identical shade, both may not take the lights 
alike. 

One of the greatest costuming difficulties usually en- 
countered in an amateur show is with the young matron 
who has a stunning new evening dress and insists upon wear- 
ing it whether or not it is suited to the part. Naturally 
personal vanity should not be exploited at the expense of 
the show. Costumes should be appropriate and even though 
a laborer’s daughter may and frequently does dress better 
than the millionaire’s lassie, the public usually prefers its 
conception of what a laborer’s daughter should be. 

Amateurs are not alone in offending in the matter of 
gowns, for a great many professionals throw dressing in 
character to the winds in order to attire themselves becom- 
ingly. As a matter of fact, proper clothes constitute an 
important adjunct in the delineation of character. Ob- 
viously the vain woman and the unselfish-always-for-others 


[ 254 ] 


STAGE COSTUMES 





type should select different gowns, just as a tramp and a 
policeman would not dress alike. 

Indeed, even height can be effected by costume. In The 
Doll’s House, for example, Nazimova was in the habit of 
wearing her hair low, using low shoes and garbing herself 
in simple little low necked dresses. This helped to estab- 
lish the desired portrait of the unsophisticated child wife. 
On the other hand in E/ Comette her hair was coiffed high 
on her head, the collar of her gray dress extended in points 
to her ear lobes, her heels were high and her train sweeping. 
The effect achieved was of willowyness and height. Added 
to this impression was the slinky material of the gown which 
imparted a certain snakelike quality to her appearance thus 
accentuating the vamp characterization and helping the 
role to play itself. 

In the spoken drama Nazimova is one of the foremost 
exponents of dressing the role. If these little matters are 
of importance to actresses who have been studying their art 
for years, they should not be passed over lightly by the 
beginner in stage craft. While the garb cannot entirely 
make an impersonation, it is of value in keeping an actor in 
his part, besides helping the audience to visualize characters 
intended. 


[ 255 ] 


CHAPTER XXIII 
MAKE Up 


In the larger towns it is usually possible to hire profes- 
sional make up men from the wig maker or costumer for 
approximately ten dollars per evening. For performances 
where a large cast is used such a step is advisable both for 
reasons of economy and effectiveness. The make up men 
bring all the materials necessary and are sufficiently skill- 
ful to turn out an old lady, a youth or a comic at a moment’s 
notice. For revues employing seventy actors three men 
will suffice, providing the cast presents itself in relays and it 
is unnecessary to prepare too many for any one scene with 
insufficient time. 

Unless professionals are arranged for, one of two things 
will occur, either several actors who have had a little exper- 
ience will be forced to use their own paints and the energy 
they should keep for their own work in the show in order 
to make up their brethren who will cavil at every stroke, 
or every Tom, Dick, Harry, and Sol will breeze in with 
his idea of make up, which may be anything from a red 
ribbon which he means to lick off to equipment for the doll 
like face of a chorus girl. When it is time for his appear- 
ance in the wings, he will still be struggling with a mus- 
tache which will not stick because he is trying to fasten 
it to grease paint or he will be churning about among 
the other actors demanding, ‘‘What’s the matter with me? 
I tell you I’m all wrong, I’m all wrong?” To which some- 
one will reply, ‘““You always were,’ and then at least a 
dozen hands will go to work to make the poor chap’s ap- 


[ 256 ] 


MAKE-UP 





pearance even worse than it was. Even after numerous 
attempts, the make up may be wrong, because the amateur 
seldom takes into consideration the size of the theatre, the 
nearness of the audience, and the lights which are to be used, 
all of which have much to do with the impression given an 
audience. A gray lining pencil, for instance, is sufficient for 
wrinkles on a small stage in a small hall whereas a brown 
One is necessary in a larger auditorium. When lights are 
extremely strong the make up should be most carefully 
blended or the face will resemble a patchwork quilt. Under 
subdued lights more make up is essential. 

In small towns where it is impossible to secure profes- 
sional assistance, the committee should send away in plenty 
of time for the required make up. ‘This may be procured 
from the larger drug stores, from any entertainment house, 
from wig maker’s and costumer’s or from houses selling 
plays. There are three varieties of make up—dry, grease 
paint, and a mixture of both. Some prefer one, some 
another. One objection to the grease paint is that it 
seems to cause the face to bead with perspiration, but the 
dry make up on the other hand is not suitable for men’s 
faces and character parts. 

Where the actor knows that he must depend on his own 
efforts to make himself look so his ““own mother wouldn’t 
know him,” he should provide himself with a box or bag 
containing brush, comb, soap, washcloth, safety pins, hair 
pins (if a woman), cotton or rags, several towels, scissors, 
cold cream, a mirror, powder, powder puff, a haresfoot 
brush, a small camel’s hair brush, spirit gum, a small bottle 
of alcohol, crepe hair or wool, nose putty, nail file and the 
paints and lining sticks which the character requires. 

Cream stick paints or grease paints usually come in four 
to five inch sticks at about twenty-five cents to half a dollar’ 
each and include the following colors: 


1. Very Light Flesh 
[257] 





THE BOOK OF ENTERTAINMENTS 


2. Deeper Tint Flesh 

3. Natural Flesh 

4. Rose Tint 

5. Deeper Shade 

6. Healthy Sunburn 

7. Deeper Healthy Sunburn 
8. Sallow for Young Men 
9. Healthy Color for Middle Age 
10. Sallow for Old Age 
11. Ruddy 

12. Healthy Olive 

13. Lighter Olive 

14. Gypsy Flesh 

15. Othello 

16. Chinese 

17. Indian 

18. East Indian 

19. Jap 

20. Mulatto 

21. Black 

22. White 

23. Light Carmine 

24. Dark Carmine 

25. Film Buff 

26. Dark Film Buff 

27. Special Dark Film 


In addition to these colors are lining sticks of black, 
brown, lake, light and dark crimson, carmine, various shades 
of gray and blue, flesh, yellow and white; eye brow pencils 
of brown, black and blue; grease crayons of carmine, rose 
tint, blonde, Ormonde blue, light and dark cobalt blue, 
ultramarine blue, peacock blue, turquoise blue and light and 
dark green; and artist’s stumps which are used for drawing 
fine lines in the face. 


[ 258 ] 


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MAKE-UP 








Stage powder is procurable in a number of shades as, 
white for neck and arms or statuary and clowns; flesh pink 
for dulling the invariable gloss of pink grease paint; pink 
flesh which is still lighter; brunette flesh necessary for 
dark individuals and for mature make ups; light flesh 
for natural flesh paint; rose tint to blend the paints used 
for juvenile heroes; ruddy; sallow; olive, for use with olive 
paint employed in Spaniard and gypsy make ups; Chinese; 
Indian; Othello; gypsy; mulatto; Japanese; buff for film 
paint; blonde for giving a light shade to beards, hair, etc.; 
and gray for hollow cheeks, hollows in the neck, etc. 

Besides these requisites are listed burnt cork for negro 
make up, clown white for statuary and clown portrayal, 
black wax for blocking out the teeth, mascaro for darkening 
hair and beard; various kinds of rouge including lip rouge, 
nose putty, crepe hair, and other items kept in stock or 
made up to order. 

Amateurs frequently imagine that make up is going to 
change them entirely and furnish the impersonation for a 
role. As a matter of fact, it is only an accessory. The 
real make up lies not so much in the grease paint as the 
way the actor squints his eyes, holds his mouth, wrinkles 
his forehead, arranges his hair, and uses his hands. Hands 
are particularly stressed because they are always indicators 
of character, are quite as telling as facial movements and 
should be as carefully made up and rehearsed in business as 
the face. A smart aleck ribbon clerk from the Big Bend 
Emporium on Main Street probably has his hair plastered 
down over his forehead with a little duck’s tail of a quirk 
in the end of it. The corners of his mouth are lifted high 
in a simper; his eyebrows are elevated with little question- 
ing wrinkles in his forehead and he looks out over his eye 
lashes with smirking eyes. This is a make up in itself. All 
that is needed is a bit of ground tone to keep the face from 
being too pallid under the lights, a touch of rouge and the 


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THE BOOK OF ENTERTAINMENTS 








There are various liquid tints, extra heavy for stage 
purposes, which are valuable for arms, face, neck, etc. 
where grease paint would soil the clothing. These colors 
may be had in all shades from white for statuary and clowns 
to ordinary flesh color and hues suitable to Chinamen, 
Indians, etc. When worn, a powder is usually rubbed over 
the arms and brushed off in order that any mottling may be 
concealed. 

Creola and Indianola paste are valuable where make 
ups less dark than burnt cork are desired. ‘They do not 
require powder and wash off with soap and water. Burnt 
cork is made into paste by adding water. 

Crepe hair which is invaluable for making false eyebrows, 
mustaches, etc. comes in all colors at forty cents per yard. 
When unravelled, it may be straightened out and the neces- 
sary portion cut off and affixed with spirit gum. 

Nose putty is excellent for building any variety of nose 
or chin, but it should be fresh and not crumbly. It is 
usually kneaded in the hands till the right consistency is 
obtained and then applied to the desired portion of the 
skin which has first been wiped quite dry. If an attempt is 
made to attach the putty over the grease paint or to a 
moist skin poor Cyrano will be sure to lose his nose at an 
inopportune time, which may amuse the audience, but will 
not be so amusing to the man who has toiled with a char- 
acterization. When properly affixed and painted with flesh 
color grease paint the borrowed features seem a part of 
the face. 

For an old make up, a ground tone of 9, 10, or 11 is 
rubbed on after the cold cream. ‘The wrinkles are added 
by the use of artists’ stumps or gray and brown lining 
pencils. Wrinkles should follow the natural bent of actual 
face wrinkles which may be discovered by screwing up the 
countenance somewhat. The chief wrinkles are from three 
to five horizontal lines in the forehead, a line running from | 


[ 262 ] 


MAKE-UP 





the nose downward on either side of the mouth, and tiny 
crow’s feet at the corners of the eyes. Where the subject 
is supposed to be extremely old fine vertical lines on the 
lower part of the upper lip will give the effect of a shrunken 
appearance. Wrinkle lines should always be accompanied 
and softened by a blending line of a lighter tint and then 
_ softened with the finger tips. To make a wrinkle stand out 
in bold relief white should be laid beside the original gray, 
blue or black, though it should be noted that black is almost 
never used except in tremendously large halls. ‘The lips 
are seldom rouged in age, but a little of this necessity 
belongs on the cheeks of middle age unless a sickly look 
is intended. Where the natural eyebrow is heavy, it should 
be whitened with grease paint and combed so that it will 
have a bushy effect. It sometimes aids to draw a shadow of 
dark gray above the eyebrows, slightly tinting the upper lid 
with the same color. Where it is necessary to change the 
_ form of the eyebrows, the natural ones may be eradicated 
by the use of soap or pomade Hongroise and the ground 
tone. Eyebrows of crepe hair may then be affixed with 
spirit gum and made any size, shape and color desired. If 
there is too much crepe hair used it will be found convenient 
to trim it with the scissors after it is in place. When the 
subject to be made old is quite young, the eye lashes should 
be whitened or a white line drawn around the eyelash as 
close as possible. Sunken cheeks are accomplished by a 
- gray irregular patch whose top line is below and parallel 
to the cheek bones and whose bottom line is parallel to the 
jawbone into the highlight of which it should blend. The 
third line runs parallel to the nostril wrinkles. In making 
the hands thin and old, the inner sides of the fingers should 
_ be darkened and also around the knuckles. A light flesh 
line is then drawn along the tops of the fingers and 
knuckles. ‘The lines of the hand may then be emphasized by 
a gray lining pencil. 
[ 263 ] 


THE BOOK OF ENTERTAINMENTS 








The wig is, of course, necessary and important for old 
characters just as it is for all characters. Wigs may be 
rented for approximately three dollars a week or they may 
be bought. Men’s wigs cost from eight dollars up and 
women’s wigs from fifteen dollars up. The advantage of a 
wig costing as much as seventy five dollars is that it may be 
combed and dressed in any style whereas cheaper wigs can 
be worn in only one fashion. ‘There are many wig makers 
in all the larger cities, but for the aid of those who are 
inexperienced it might be mentioned that Deutschmann and 
Birnstein, New York, send wigs all over the country. Where 
wigs are rented they should be returned promptly and not 
laid out for the puppy’s entertainment. ‘They are expen- 
sive property and misuse is apt to subject the renter to a 
bill for the entire cost of the wig. A wig should fit properly, 
but when it fails and there is no time for exchange, exposed 
hair should be colored to harmonize. Women should first 
arrange the hair in small braids and fasten them as flat 
against the head as possible before donning a wig. Aside 
from old wigs it is said that light colored ones make the 
face seem younger and dark ones, more mature. When 
wigs are not worn with old make up, the hair may be given 
a silvery tone by the use of cornstarch or powdered gilt 
aluminum. Men who are to appear old are greatly helped 
by the aid of whiskers. These are made white with grease 
paint dusted with powder. Where a sharp nose is desired 
the bridge of this appendage is given a streak of lighter 
tint than the ground tone and then shaded out on each 
side with brown or gray blended into the ground tone and 
powdered. | 

A make up much used by amateurs for minstrels, butler 
roles, etc. is that of the negro. ‘This seldom looks satis- 
factory because the name burnt cork is inseparable from 
this make up and the majority of individuals buy cork, burn 
it and rub it over the face which gives a dry uneven, messy 


[ 264 ] 


MAKE-UP 





appearance. Real burnt cork is procurable in tin boxes. A 
small quantity of it is moistened in the hand before being 
rubbed over the face, neck and ears. The lips, cheeks and 
outside of the nostrils are then touched up with a red lining 
pencil and the hands are usually encased in black gloves. 
Where the subject has a slight beard on the face this should 
first be darkened by mascaro which comes in boxes with a 
little brush and is prepared by moistening with water. 
If it is desired to make the eyes large, a little rim of white 
skin should be left around them. Where a mouth of extra 
size is planned, the burnt cork is not applied to the portion 
intended for lips which are drawn in with red grease paint 
and the black then brought up to the red. Care should be 
taken that the burnt cork is dry before the red ‘is applied 
or a mess will result. If black is used on the hands instead 
of gloves, it is placed on the backs only, leaving the palms 
nearly white. For a very old African the face is lined with 
white after the black is dry. The eyebrows and whiskers 
are then whitened with grease paint. A negro of lighter 
hue results from the use of several shades of grease paint 
blended or an application of Creola paste. This comes off 
with the use of soap and hot water. Naturally the eyelashes 
and eyebrows should be darkened. 

Very little can be said about character make ups because 
they depend so much upon the imagination of the comedian. 
The person who has humor enough to make an audience 
laugh can usually furnish himself with funny faces. Wigs 
are one of the best sources of providing a laughable make 
up. These may be made to order or it is possible to con- 
struct amusing hair appendages by buying common wool, 
coloring it red, black or blue with Diamond dye and then 
sewing it into the shape desired for a head covering. Such 
a makeshift is fragile and usually good for but one night. 
It is, however, better than nothing in an emergency. 
Amusing eyebrows are the next adjunct to burlesque. These 


[ 265 ] 


THE BOOK OF ENTERTAINMENTS 





may be set high on the forehead to provide a quizzical 
expression or otherwise manipulated if crepe wool is used 
and affixed by spirit gum. Alcohol, it should be noted, will 
cut the gum when it is necessary to make a removal. A 
small dot under the lower eyelid and on the upper eyelid 
close to the lashes will not be observable from the audience, 
but will make the eyes appear very small and shoe buttonish. 
Lines running down on the face always tend to give a 
dispirited or dejected look, while lines running the reverse 
tend toward a bright appearance, as everyone knows from 
watching mouths. ‘‘He’s happy—the corners of his mouth 
turn up” is a common expression. An ugly look is accom- 
plished by drawing two lines between the eyes. Where it 
is desired to appear toothless or with several teeth missing 
black wax is used. It is softened in the fingers and then 
applied to the tooth. If black wax is not handy an eyebrow 
pencil or black grease paint will black out the tooth if the 
latter is dried. Later it may be rubbed with a towel and 
restored to its usual condition of pearliness. A comical 
twist is sometimes given the face by painting one line run- 
ning down from the corner of the mouth and the other line 
running up. Glassless spectacles in all shapes may be had 
at the wig maker’s or costumer’s. Naturally, funny hats, 
ridiculous ties and clothes greatly add to character make 
ups. 

Next to the negro, the Irish character is probably most 
used. In order to delineate this the whole upper lip from. 
the nose down to and including the upper half of the 
mouth is painted with a light flesh color which gives the 
effect of a large and prominent upper lip. A gray powder 
is touched lightly over this to give an unshaven look. A 
red lining pencil is next used to paint the lower lip and 
extend the corners of the mouth a trifle downward. A 
brown line is drawn from the side of the nose almost 
to the eyes, down the jaws. It is then blended with a 


[ 266 ] 


MAKE-UP 





reddish flesh on the outside. The whole flesh of the face 
may then be made quite red with ruddy rouge. A red line 
is drawn around the eyelashes and bushy eyebrows almost 
meeting are afixed. A pug nose may be accomplished with 
nose putty or by painting a dark line across the bridge of 
the nose and giving the end an application of a light flesh 
color and extending the nostril forward with black paint. 
The whole make up may then be toned down with yellowish 
powder if desirable. 

Farmers, tramps, cowboys and others used to the open 
should use ruddy rouge for a foundation color or else 
grease paint 6 or 7. The cheeks are rouged and the eye- 
brows and mouth made up as desired. 

For Chinamen the natural eyebrows are destroyed by 
the use of Chinese color grease paint. Black brows are 
then made by a streak of black over the real ones and run- 
ning slightly upward. The whole face including the lips 
should be covered with the Chinese grease paint. A small 
black line should run obliquely from the eye; a small 
black line should extend from the center of the lower eye- 
lash to the outside corner of the eye and for about half an 
inch beyond, but upward toward the temple. A light flesh 
line is drawn underneath this and a little beyond the black. 
The whole make up is then toned down with yellow powder. 

Any make up which turns out too strong or coarse may be 
softened by applying yellow powder with a large puff. 

For the sake of those who believe that make up is an 
invention of the founder of sin, it should be said that all 
faces need artificial coloring under stage lights. Even 
singers or speakers at comparatively small gatherings 
should not attempt to face the lights without help from 
paint. Without it the face assumes a ghastly color and 
the audience naturally deduces that the would be enter- 
tainer is frightened. ‘The result is that he is pitied and 
his real work forgotten. 


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THE BOOK OF ENTERTAINMENTS 





The cardinal rule in applying make up is to take plenty 
of time. It is usually advisable to try it out at home before 
getting into the excitement of a first night at the theatre. 
Once in the dressing room, it is well to dress partly, spread 
a towel over the lap and proceed to business. When the 
performance is over, stage cold cream should be rubbed 
well over the make up, allowed to remain several minutes 
and then rubbed off with cotton, gauze or soft rags. The ° 
face may then be washed, treated with street cream and 
powder and all traces of theatrical life are removed. 

It is futile to attempt to list all of the possible characters, 
for, when all is said and done, there are as many characters 
as there are people. While there are, of course, types and 
nationalities, still everybody is more or less individual. 
To achieve good make ups, then, the first essential is to be a 
good observer. ‘This faculty may be aided by clear photo- 
graphs clipped from magazines. In fact, the amateur can- 
not do better than to unearth a picture approximating his 
character and study it carefully, using it as assistance in 
making himself over. With this and a list of paints suit- 
able for different characters, some slight knowledge of this 
stage art may be had, but perfection in technique results 
only from perseverance and practice. 


[ 268 J 


CHAPTER XXIV 
MECHANICAL EFFECTS 


It is more or less usual for the bomb which is to explode 
at the end of the big scene in the second act to fail at the 
crucial moment when the leading lady is crying, “‘It is time 
Tony blew up the bridge. There it goes now!” The 
actors wait painfully for the debris that is to follow, smile 
weakly when nothing happens, and pray for a quick curtain. 
Occasionally a big murder scene is ruined by the revolver 
which clicks when a bang is expected, thus suggesting that 
plays which depend upon such devices should either have a 
good technical director or be timed and rehearsed with 
fool proof mechanism. 

Many plays need no mechanical contrivances whatsoever, 
but where such aids are necessary they are most important 
and really make the atmosphere which lingers in the mem- 
ory long after other parts of the production are forgotten. 
Perhaps the most gripping scenes in O’Neill’s Hairy Ape 
are those taking place in the stoker’s hole, off the engine 
room and in the engine room itself, with the half naked men 
feeding the great red furnaces. While the dramatist has 
provided these scenes with powerful dialogue this would 
not be half so gripping were it not for the skillful noises 
employed—the sound of bells, the continual throb-throb- 
throb-throb-never-ceasing-throb of the engines, the clank of 
the shovels and clang of the iron furnace doors. ‘These 
clever, ceaseless noises, subdued just enough not to drown 
the dialogue and yet kept an insistent background, garb the 
play in a shivery realism that it is impossible to forget. 


[ 269 J 


THE BOOK OF ENTERTAINMENTS 





The same thing occurs in The World We Live In which has 
become known more or less familiarly as the insect play. 
In the factory scene where the men tramp back and forth, 
to and fro, endlessly, untiringly, the thing that really sways 
the audience is the monotonous clank-clank-clank-clank ac- 
complished by an unseen anvil. This rhythmic beat soon 
hammers into the consciousness of the audience and gives 
the feeling of inexorableness and relentless determination 
better than several pages of explanation and fine writing. 

For atmosphere, then, mechanical effects are most impor- 
tant and are often secured by very simple means. Indeed, 
some of the contrivances have been in use since the days 
of cheap melodrama. ‘Thunder, for instance, has been 
achieved for years by rattling a piece of sheet iron or 
pounding it with a mallet. Lightning is usually green light 
flashed on and off. Smoke is achieved by the use of a smoke 
pot obtainable from any fire works supply house. Colored 
fire glows, etc., may be secured at the same place. Steam 
is rarely attempted except in a regular theatre and is then 
handled by the electrician. 

There are various methods of simulating the swish of 
water. One consists of a large wheel like a squirrel’s cage. 
This is usually built about three feet in diameter and coy- 
ered with wire. If it is filled with dried peas and arranged 
so that it can be twirled first one way and then the other, 
a very satisfactory water imitation is obtained. A similar 
effect is possible with a can or box filled with gravel. When 
this is shaken slowly or rapidly different sound effects of 
water result. Naturally, however, this should be practiced 
before the final night, as a little knack will make it con- 
vincing. | 

The swish of the ocean waves, or of water falls may be 
easily accomplished by carefully tipping from side to side a 
base drum containing beans, peas or BB shot. | 

Snow is usually counterfeited by placing quantities of 


[ 270] 


MECHANICAL EFFECTS 





tiny bits of paper into perforated bags shaped like cradles. 
These are hung at various spots above the stage.and when 
swung from side to side allow the paper to sift slowly 
through the holes and lazily downward, giving the impres- 
sion of real snow. Some such arrangement is necessary, as 
hand scattered paper drops too rapidly and in bunches with- 
out the drifting appearance that is characteristic of snow. 
For actors who dash in with coats and hats covered with 
this arctic insignia, coarse salt, slightly moistened, clings to 
the garments and more nearly approximates snow than 
anything else that can be devised. 

Rain behind a window is usually effected by putting a 
tarpaulin on the floor and placing a perforated pipe at 
the right angle to spray against the glass when the water is 
turned on. Rice falling with a spotlight streaming upon it 
also gives an excellent effect of dropping water. 

Wind is made by a stationary wooden drum elevated on 
legs. ‘The circumference or rim of the drum consists of 
tightly stretched canvas several inches wide. Inside the 
drum is a wheel made up of slats six inches apart with a 
handle which protrudes through the center of the exterior 
drum. When the wheel is turned the slats rub against the 
canvas producing the various weird whistles, shrieks and 
sighing familiar to audiences. 

Carriage arrival is a sound that is not so much 
demanded now as before the general use of automobiles. 
It is made by grasping a long pole, one hand held high 
on the pole, and the other hand placed low down, and the 
pole pushed across the stage floor. The vibrations of the 
uneven floor contact make a continuing noise as of a rolling 
carriage. When the slamming coach door effect is added 
the imitation of the real thing is perfect. 

Smells are extremely valuable in aiding the atmosphere 
of a play. In The Little Journey one of the most mem- 
orable scenes is that on a western mountain top where the 


[ 271] 


THE BOOK OF ENTERTAINMENTS 





wrecked travellers of a transcontinental express prepare 
food for themselves over a little fire in the rocks. When 
the curtain rises a coffee pot is boiling over the fire and the 
aroma wafting out into the audience gives a semblance of 
reality that causes many in the house to sniff appreciatively 
and wish that they were there. They do not consider that a 
property man had made strong coffee off stage, brought 
it in just before the curtain’s rise, opened the pot’s lid to 
help the odor to escape and fled. In temple scenes and 
exotic boudoirs, incense and perfume create an illusion 
which is most helpful in establishing the atmosphere of the 
scene. Frequently it is necessary to use atomizers rather 
freely in order to accomplish this, but the results usually 
more than compensate, as has been proven by David Bel- 
asco and other shrewd students of public psychology. 

Decanters and other hootch accessories are usually filled 
with tea. This is safer than ginger ale or anything of an 
alcoholic or carbonated nature which might cause a 
moment’s embarrassing regurgitation. 

Frequently scripts call for trains, street cars or automo- 
biles which must approach to bear away the harassed lover 
while the heroine agonizes at the window over a visible 
pursuit. First the locomotive’s headlight is a speck among 
the mountains overlooking the good old town. It grows 
larger and larger as the train comes nearer. ‘There is a 
distant whistle, the sound of a bell, the clickety-click-click 
of wheels and perhaps even escaping steam. This illusion 
is accomplished by the aid of a back drop upon which the 
track or roadway is a transparency. ‘This is effected by 
painting everything but the right of way with opaque 
paints and doing that with aniline dyes which are trans- 
parent. When the drop is in position a small light is 
attached to a bamboo pole and passed along the trans- 
parent track at the back until it is time to lose the train in 
a tunnel or clump of trees. A second and larger light on 


[ 272] 


MECHANICAL EFFECTS 





a pole then takes up the route following the meanderings 
of the track until time for a third and still more powerful 
light to succeed. If the train, auto or other vehicle is 
supposed to pass outside the window, a big spotlight is 
flashed across the stage at the last. With the correct 
accompanying noises and the breathless heroine’s agonized 
attention, this simple scheme invariably thrills an audience. 

The apparatus for duplicating the sound of train wheels 
and the whistle may be purchased or one of the reliable 
noise making props consists of a pair of boards covered 
with coarse sandpaper. When these are rubbed together, 
slowly at first, and then with increasing speed, a very good 
imitation of the noise of a speeding train is realized. A 
cocoanut, cut in two at its equator line, and the halves held 
firmly in the right and left hands, may be knocked together 
rhythmically to simulate horse’s hoof beats, and as the 
speed is increased the pace of the hoof beats seems to 
increase. 

Of late, many plays have been produced in which ances- 
tors step out of portraits or the younger generation steps 
into them. This is accomplished by throwing the painting 
in darkness. The painting is either on a window shade 
which rolls up or else graces a sliding panel which may be 
pulled out, thus leaving the real person standing in a box 
backed up to the picture. 

Another scheme is to use a picture painted on stretched 
scrim. If lights are thrown in front of this and kept off 
behind, the picture is visible. As soon, however, as the 
lights are turned off in front and switched on behind, the 
scrim disappears completely and shows a real figure stand- 
ing there. This trick is easily managed and is usually 
extremely puzzling to an audience. 

Where an ocean or lake is necessary for a stage picture, 
the best results are obtainable by throwing a moving pic- 
ture of water on a drop and the stage. This requires sev- 


[273] 


THE BOOK OF ENTERTAINMENTS 








eral rehearsals and is not so simple as it sounds and, there- 
fore, should not be left to the last moment. 

It should generally be kept in mind that the simple 
mechanical means are the most effective. Elaborate 
schemes seldom work or if they do, they usually fail to 
make the great impression desired. Best results often 
need experimentation, just as lights, scenery and even the 
playing of different parts require it, but when a delighted 
ticket buyer exclaims, “‘My, wasn’t that storm real!” the 
individual who toiled over it feels a sense of gratification. 


[274] 


CHAPTER XXV 
THE STAGE DIRECTOR 


The committeeite or other chosen one upon whom 
descends the mantle of stage director is in both an enviable 
and unenviable position. Until at least one successful event 
has been put over every move will be questioned if not 
actively combated, but the performance once achieved 
with distinction, the world is his. Unruly casts which have 
been a constant source of annoyance and worry smooth out 
at the last moment into incense bearers for the very coach 
whose patience they have tried to the limit. At first, they 
usually give trouble. For this reason initial rehearsals, 
especially, demand the hand of one who is firm, just, un- 
afraid and who is able to understand and handle human 
nature. 

He who is easily influenced by the opinions of others, 
_who is non-assertive or lacking in positive traits of charac- 
ter should never try to govern players, all books about 
gentle ways to the contrary. Why it is that the majority of 
persons seem to revert to childhood the moment they set 
foot on the stage is an unanswerable question. ‘The fact 
remains that quick decisions and firm direction are essen- 
tial, or the first thing that will happen will be that Mrs. 
X. will begin by saying, “Don’t you think Mr. Kay had 
better stand by the mantel while I’m fixing these flowers?” 
and the next moment she will direct, ‘‘Mr. Kay, you sit 
when you say that and I'll stand over here.” Before the 
director knows what has happened to him, everybody will 
be directing, chaos will reign, and the director might as 


[ 275] 


THE BOOK OF ENTERTAINMENTS 





well go home, as he has no business to be present without 
authority. 

Rehearsals cannot be run by a committee, self appointed 
or otherwise. Even comments by loitering friends of the 
cast are usually sufficiently pernicious to indicate closed 
rehearsals whenever possible. Visitors cannot visualize 
the end toward which a director is laboring and only too 
frequently make his work doubly difficult by inopportune 

suggestions or criticism. 
_ The wise director should be unhampered by advisers. 
To him belongs the responsibility of the glory or failure 
of a production and he should insist that in his province he 
is absolute dictator and autocrat. This may seem con- 
siderable power to relegate to a possibly untried person, 
but it is the only way to get results. 

It may be noted in this connection that while professional 
experience is always valuable it is not invariably essential. 
In fact, an up-to-date person with taste, discretion and 
imagination is apt to stage a better performance than a 
hack professional who directs by rules. “These may be im- 
portant at times, but sincerity and feeling are more neces- 
sary. If the director has the ability to make the audience 
think that the players would do such and such acts in such 
a way at such a time, he is in the right even though every 
rule be broken. He who directs by rules alone is apt to be- 
come circumscribed by them, whereas nothing is impossible 
to the person with enthusiasm. 

Frequently a director takes over a cast that has already 
been selected. This is more or less necessary when the 
coach is unfamiliar with the personnel of an organization. 
In some institutions, such as schools or dramatic organiza- 
tions, casts may be selected by try outs. This method is 
advocated by many, but actual tests have demonstrated 
that often the best actors do not attend the try-outs and 
frequently a player who makes an excellent showing at the 


[ 276] 


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THE STAGE DIRECTOR 





try-out proves to have less ability than the person he dis- 
places. While it is always heartening to find. actors or 
would be actors with stage sense, ability is not so essential 
as a desire to do the part. Given this, the director has 
something with which to work and can often build up a bet- 
ter role by directing an individual more or less plastic than 
by trying to help another who has perhaps had more ex- 
perience, but who knows it all. 

Actors cannot tell how they look on the stage or how 
the words uttered by them sound. It is for this reason the 
director exists. He is a mirror reflecting what he sees be- 
fore him. Some actors say, “I had a friend sitting in the 
audience and he told me ”” and seem to think that set- 
tles any controversy. Friends are apt to tell a player what 
they think he wants to hear. The director is in the posi- 
tion of the most critical patron of the theatre. He is on 
the look out for every misstep that will be censured. For 
this reason players should never resent his criticisms, for 
his every effort is, or should be, to make the production as 
perfect as possible. Often, indeed, he seems to criticise 
most freely the very persons whose work seems superla- 
tively good. This is usually because they are so excellent 
that he longs to see them flawless. 

Different personalities, of course, can be handled in differ- 
ent ways. Often one individual will work harder from a 
few of the director’s suggestions made in confidence just 
before or after the rehearsal. Others do better for the 
regulation, ‘‘Don’t do that—do this.”’ Certainly there are 
“very few whose work cannot be strengthened by a coach 
and one day one actor will get most of the suggestions 
and another day somebody else. 

Rehearsals should be sufficiently often so that what is 
tried out and learned one time will not be forgotten when 
the cast meets again. For this reason, there should never be 
less than three rehearsals a week and as the date of the per- 


[277] 





THE BOOK OF ENTERTAINMENTS 





formance approaches, meetings should be daily. Nothing 
is gained by starting rehearsals too far in advance as the 
cast is apt to loaf or grow stale. A shorter period and 
more rehearsals is to be preferred to a longer period and in- 
frequent rehearsals. When a cast knows that it has to be 
perfect in three weeks, it will work harder and accomplish 
more than when it dilly-dallies over three months. 

When rehearsals are started the cast should be con- 
sulted about dates and rehearsal hours acceptable to all 
should be agreed upon. ‘These dates made, the coach 
should say, ‘“‘If you are going into this play I want you to 
see it through. Rehearsals must come before other engage- 
ments. I don’t intend to give my time to coming here at 
the hour set to find only half a cast. I don’t want you to 
come to me and tell me that you can’t attend rehearsal 
Monday night because your wife has a birthday. No excuse 
except sickness will be considered and if anyone absents 
himself from a rehearsal without seeing me about it, he will 
be promptly dropped from the cast.” 

It will be necessary to fire only one or two persons and 
if the director shows he means what he says and is not to 
be imposed upon, there will be little future trouble. Unless 
there are stringent rulings justly carried out, rehearsals 
scheduled for eight will not get under way till nine and 
nights will come when out of a cast of ten, three will show 
up. 

Amateur players in particular never can see why it makes 
‘any difference if just one person fails to appear. Often 
a man will say, ‘‘What difference does it make? I’ve only 
got three lines and I know them backward!” It is not a 
case of what one man knows or what he can do, but the 
teamwork that counts. Ten persons are playing make 
believe together. The minute one fails to show up and a 
stranger reads the part, the whole atmosphere is broken, 
positions are lost, the tempo of the rehearsal sags, the 


[ 278 ] 


THE STAGE DIRECTOR 





make believe is entirely gone. Thus the three line man 
is just as important as the seventy line man. He is a unit 
in the whole and without him there is disintegration. 

The scramble for leading parts and the greatest number 
of lines is another inexplicable thing. A four line part 
can be made to stand out in the mind of the audience as 
the best bit of the evening. In fact, there is often nothing 
more entertaining than to see a minor character literally 
walk away with the show from the very excellence of his 
acting. | 

The original name of the play Lord Dundreary was 
Our American Cousin. The most important character 
was Asa Trenchard impersonated by Joseph Jefferson. 
The least significant role was that of Lord Dundreary 
played by Sothern. What occurred? Sothern made his 
impersonation so marvelous that he became the real star 
of the play and the name was ultimately changed on his 
account. ‘These instances might be multiplied endlessly 
on the professional stage and are just as liable to happen 
to the amateur. A director, therefore, should disabuse 
the minds of those who think their roles are unimportant. 

There is nothing unimportant about a show from the 
manner in which a bow is taken to the man who orders 
the curtains for the bows and establishes their order of 
precedence—the stage manager. In professional produc- 
tions this individual is considered a necessity, but in amateur 
theatricals the director generally fills this role along with 
many others. When it is possible, however, to find a will- 
ing, conscientious person who will act as stage manager, 
the director’s duties are greatly lightened, as the routine 
duty of calling rehearsals, making property lists, etc. may 
then be delegated to this lieutenant, thus saving the direc- 
tor’s energies for more important tasks. 

One item upon which the director should insist is the 
necessity of the stage manager or substitute holding a 


[ 279 ] 


THE BOOK OF ENTERTAINMENTS 





copy of the script during rehearsals and writing therein all 
stage directions as they occur. This not only makes it 
possible for the stage manager or a deputy to carry on the 
play, if for some reason the director is unable to attend a 
rehearsal, but incidentally obviates controversies such as, 
“We didn’t do that before.” 

The director also sees that the stage manager makes 
and furnishes light and music plots. The former is a 
statement of all lighting effects required. ‘This together 
with proper cues is given the electrician. The music plot 
with its cues naturally goes to the orchestra leader, al- 
though in musical shows the leader usually makes his own, 
particularly if he directs the numbers during rehearsals. 

When it is possible for the director to use a good artist 
or stage designer, it is well to tell him what the play re- 
quires in the way of exits, atmosphere and other necessities 
and leave scenery details to him. The same is true where 
it is possible to command an experienced costumer, but 
usually the director of amateur productions must plan 
his own scenery, costumes and not only be the power behind 
the throne, but the throne as well. He has even been 
known to shift his own scenery. 

When a theatre is hired, its regular crew of scene shifters 
or “grips,” property man, etc. are usually engaged also, 
since Union rules in this regard are strict, but in small 
auditoriums where it is necessary for the director to provide 
for everything, he should see that the stage manager ar- 
ranges for a person or persons to lower or draw the curtain 
or curtains and that they have cues. A property man, 
or men—according to the size of the production—should 
be selected. Usually volunteers take this job very lightly 
and should, therefore, have it impressed upon them that 
the lack of a dagger or a bowl to smash at a critical moment 
will ruin the whole play. They should be trained to keep 
all properties for a certain act together in a given place. 


[ 280 ] 


THE STAGE DIRECTOR 





Small clothes baskets are excellent adjuncts as most of 
the props for an act will go in one of these. They can be 
carried on and off the stage quickly and their contents ar- 
ranged or scrapped with neatness and dispatch. Where so 
many props are necessary as to require more than one man, a 
given section of the stage should be apportioned to one 
and the remaining portion to the second in order that 
confusion may be minimized. Naturally whatever help 
he is fortunate enough to secure, the good director makes 
sure everything is as it should be before the curtain is even 
allowed to ascend. 

Where volunteer scene shifters are used, the same care 
should be exercised in their training. ‘They should be 
taught that all set pieces, etc., for a given act must be kept 
together, in a certain spot, as there is no time during a quick 
change to run hither and yon looking for a misplaced tree 
or urn. Naturally amateur scene shifters should be given 
rehearsals so that they will be able to get around without 
falling over one another and ripping everything to bits. 

One of the first questions invariably asked by amateurs 
is, ‘Who is going to be prompter?’’ Whereupon, the wise 
director usually replies, “If you’re worrying about a 
prompter you are in no position to play this role. ‘There 
will be no prompter.”’ Ostriches with their heads in the 
sand are just as logical as those who depend on a prompter. 
To begin with if an actor forgets, someone near him usually 
prompts him and prompts him wrong before the prompter, 
who is off stage, knows what is up. By that time the cast 
has probably jumped two pages of script and is either 
going blithely on or is in a hopeless muddle. While the 
stage manager, author, or someone familiar with the 
script may hold it on the opening night, the actors should 
be trained to depend on themselves and not expect help. 

Professionals, instead of worrying about a prompter, 
begin their queries with, “Where’s my dressing room?” 


[ 281 ] 


THE BOOK OF ENTERTAINMENTS 





While this is a more difficult problem with them than with 
amateurs still it presents one more task for the director or 
his deputy, the stage manager. Dressing rooms should 
be so assigned that those having the greatest number of 
appearances are most conveniently located. Amateurs are 
not apt to make the same brawl as professionals in regard 
to the star’s room. In fact, they generally prefer to dress 
in company as they achieve a certain confidence in being 
together. 

Where there is a large cast, therefore, there should be 
no compunction about putting several in a room, or, where 
there are only two rooms, assigning one to the women and 
one to the men. Very quick costume changes may be 
achieved off stage by means of screens. Whatever is done, 
however, a list should be placed on room doors of those 
intended to dress there. Otherwise one or two persons 
will seize the best room and hold it against all comers. 


While posting is being done, the director should also see © 


that notices are put up in all dressing rooms listing scenes 


in their order of appearance together with the names of — 


persons appearing inthem. During the actual performance 


scenes are called in the dressing rooms as, “Locomotive © 
dancers—the Whirlpool next!’ This method keeps the © 
actors away from the stage, and it should be impressed upon © 
them that they may not amble upon the stage at will and © 
cumber the exits. Stage hands and stage hands only should 
have possession of the stage while it is being set and the — 
usual swarming of nervous actors and their friends should — 


not be tolerated. 


In this connection, it should be noted that the disnetng } 
will do well to instruct the cast to train their friends that © 


they are not desired back stage till after the show. Like- 
wise, actors should not stroll down into the audience. Noth-— 
ing so stamps a performance as hopelessly amateur as to 


' 


have a be-crinolined young lady rush down into the audience 


[ 282 ] 


4 


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4 


THE STAGE DIRECTOR 








after her number and seat herself in all her make up. 
Indeed, actors have even been known to sit in the audience 
in their make up until almost time for their appearance on 
the stage. Naturally this detracts from any make believe 
they may later hope to achieve and is generally bad taste. 
This may all be forestalled by a firm handed director. 
It is so much wiser and easier for the director to foresee and 
thus forestall certain contingencies among the cast than to 
cope with problems after they arise. For this reason as 
well as some of the others that have been enumerated, the 
director should be one who is “‘on the job.” 


[ 283 ] 


CHAPTER XXVI 
How To BuiILD A PRACTICAL STAGE 


It frequently happens that entertainments requiring a 
stage must be planned in banquet halls and ball rooms 
which are not equipped with stages. The problem is one 
which requires careful planning, for stages need to be de- 
signed to accommodate handling scenery, placing of lights, 
acting space, and accommodations for storing scenery prop- 
erties, a piano, if used in a play, etc. 

The cost of erecting a stage may be greater than is pos- 
sible to consider for a single evening’s entertainment. It 
often happens, however, that one or more other societies 
are also met with need of a stage, which may be taken down 
quickly and erected, and hotels and restaurants, country 
clubs, etc. appreciate their own needs, so that the cost of a 
stage is often divided among several groups who have 
ownership in it, and each time it is used the rental charged 
helps to wipe off the initial cost. 

The stage shown in the accompanying illustration is 
both practical and cheap to build. It consists of four up- 
right ladders, made of 2x8 inch planks, 28 feet long, with 
strongly nailed cross pieces. ‘These are connected at the 
top with two light, but strong trusses, which should be tied 
with iron rods. Any local carpenter will design and build 
a strong truss. ‘These trusses are bolted to the tops of the 
upright ladders. ‘Trusses are 37 feet length and 3 feet 
to 3% feet depth and made of unfinished timber. 

The five cross members at the top, forming the gridiron, 
are built up beams, 24 feet length, rigged with sheaves, or 


[ 284 ] 


4 


HOW TO BUILD A STAGE 








pulley blocks, set at right angles, and set into the first, third 
and fifth cross frames. The sheaves at one end (the tie- 
off end) should be triple blocks, and the other two, single 
blocks. 

A set of lines consists of the “long line,” ‘‘center line” 
and ‘short line” and there should be 12 to 15 sets-of lines 

























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for a stage that is to serve many requirements. ‘Thus the 
15 sets of lines would require 15 triple sheaves and 30 sin- 
gle blocks. ‘These lines are required to carry the border 
lights (long rows of electric lights in white, amber and blue 
or red colors), the borders, (drapes that mask the rows of 
lighting) and the hanging pieces, as scenery drops or velvet 
or other fabric drapes. 

Immediately behind the front truss, a second light weight 


[ 285 ] 


THE BOOK OF ENTERTAINMENTS 





truss should be hung (on the first set of lines). ‘This is 
the curtain truss, and it can be light weight, but needs to be 
strong. It needs to hang, rather than to be permanently 
attached, so that the curtain may be adjusted to hang 
properly and clear the floor. If the front curtain is of the 
draw type, divided in the center, and pulled back from each 
side, it requires a track, similar to the track used in hanging 
barn doors, which is sold in hardware stores. But a long 
length of track may be difficult to get “‘out of stock’”’ and so 
when the stage dimensions are decided upon, the track for © 
the curtain should be ordered immediately. 

A tableaux curtain, or “‘tab curtain” as it is known in the 
theatre, needs no track. It is firmly tied to a batten (long 
piece of scantling, or several pieces nailed together) and 
raised above the opening of the proscenium, trimmed just — 
to reach the floor, and the lines holding it “tied off.” 
This curtain operates by sash cord running through pulleys, 
and ‘one-inch rings sewed to the back of the curtain in a 
quarter circle (the two halves of the curtain making a 
half circle) so that when the curtain ropes (two) are pulled, © 
together, the curtain is elevated in a festooned drapery. 

Erecting the four ladders at the four corners, the two 
trusses connecting the front and back, the cross trusses — 
at the top, and rigging the sets of long, center and short 
lines; adding the truss for the curtain (if slinging type) 
means that the frame work of the stage is completed. The 
stage floor is completed by setting horses, three feet high, in © 
rows and laying platforms on the horses, with cross battens: j 
to fit the horses, and so hold the stage floor secure. 

Additional horses, and floor platforms, should be soppliail 
for the sides of the stage, and for the rear, if the stage 
itself does not stand against a rear wall. These supply the 
needed space ‘‘off stage” for the storing of scenery and 
properties needed in the performance, and a place to stack — q 
them when they have served. 


[ 286 ] 


HOW TO BUILD A STAGE 





Stage Dimensions 


A stage that is too large imposes difficulties in rehearsing 
a play, and means that much furnishing must be provided. 
A small stage is an abomination because it limits the kind 
of entertainment that can be given. A large full stage 
cannot be had in any but regular theatres. A well planned 
theatre has an opening 36 feet wide and 35 feet high. Some 
theatres have openings above 50 feet. An opening 30 
feet wide, if it can be had, will serve most purposes, and 
many good performances have been given on 25 feet stages. 
The ideal figure to keep in mind is 30 feet width. 

This is the width of the opening. The stage needs side 
room, and if 15 feet can be had, on both sides, or a total 
width of 60 feet for the stage, productions will be made 
with ease that otherwise would be difficult or impossible. 

The opening height should be 15 or 18 feet above the 
stage floor. There should be 5 or 6 feet of hanging space 
above the opening. The gridiron, or place where the 
sheaves for the long, center and short lines are suspended, 
should be 24 feet above the stage floor, or 27 feet above 
floor of the building. This height permits use of scenery 
18 feet or 20 feet height, which is most appropriate, and in 
common use. If the gridiron is required to be less high, 
because of ceiling heights in the room, then scenery only 
15 feet high can be used, and while this does not wholly 
discourage a good performance, it does impose a handi- 
cap which should be avoided. 

Distance from the curtain line to the back wall should 
be as near 24 feet as possible, though many good stages 
get along with 20 feet, and a big production theatre boasts 
45 feet from curtain line to back wall. ‘The apron—that 
part of the stage which extends in front of the curtain line 
—should be two or three feet, and may be circular in form. 

Referring again to dimensions; the proscenium opening 


[ 287 ] 


THE BOOK OF ENTERTAINMENTS 





should be 30 feet wide and 18 feet high. The stage floor 
should be three feet above the floor of the room. The 
gridiron should be 24 feet from the stage floor (27 feet 
from the room floor) and the stage depth should be 24 
feet from the curtain line to the back wall. The total 


width of the stage should be 60 feet, which allows 15 feet — 


each side of the opening. 


If the stage is planned to be built for a country club, at — 


one end of a ball room, where there is no ceiling limitation, 


then the gridiron should be carried up to 40 feet. Having — 
a high gridiron permits hanging pieces to be carried high — 
up, out of sight when not needed and quickly lowered when ~ 


the scene is to be set, and again “flied” out of the way when 
the act is over and the stage picture is being “‘struck.”’ 


A high gridiron permits the use of counterweights on © 
heavy drops, so that they may be raised and lowered by one > 
or two persons, when otherwise several strong persons have © 
to take a hand. Whenever possible a high gridiron should © 
be included, because quick handling of scenery, tends to 


eliminate the long waits between acts. It is these long © 


waits, required in setting scenes, that mark performances 


with the amateur’s blight. If long waits are avoided and § 
the performance moves along smoothly the audience has a 
marked respect for the entertainment. No perfection of | 
acting wholly overcomes the hurt of tedious pauses between 
acts. 

Amateurs who would give a professional touch to hein 
performances, need to organize their programs so that a _ 
very minimum of time is given to making costume and scene 
changes. Often with a low gridiron, hanging pieces may be 
tied with cotton string, like a sail going up “in stops” and 
broken out quickly, as a balloon jib in racing yachts, avoid- — 
ing the time required in tying a batten to the set of lines — 
and raising it. In this way the drop is hung, raised aloft, — 
and the cloth tumbles down to the stage floor when the 


[ 288 ] 


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HOW TO BUILD A STAGE 





light string is broken. This is called ‘‘tricking’” a drop, and 
often minutes are saved. | 

It may be debated that a stage 3 feet from the floor is 
too low, and that 4 feet is a better height for a stage floor. 
Four feet used to be a standard, but it was found that too 
many persons had to look up, meeting a distorted picture, 
and most authorities agree today that 3 feet is much to be 
preferred, even with a stage set in a room with a flat floor. 

From curtain line to back wall, a stage is divided into 
areas known in the theatrical profession as ‘‘1,”’ ‘‘2,” ‘‘3,” 
and “full stage.” Single acts, one or two persons, gen- 
erally work “in One.” It is a more intimate arrangement. 
Also it permits the stage behind to be set while the audi- 
ence is being entertained, so that changes are made with 
less waiting. When an act is being performed ‘“‘in One” 
and changes are going on behind, these changes should be 
made quietly in order not to disturb the act being put on 
“in One” and care should be taken to have very little light 
behind the curtain “in One” otherwise the strong light ex- 
poses what is being accomplished on the full stage. 


Stage to Take Up and Down 


The stage described herewith can be made to be taken 
up and down quickly. The up and down ladders, and cross 
trusses front and back, may have the gridiron beams with 
sheaves, set with strong hook and eyes, of iron, so that 
the stage may be lowered with purchase block and tackle. 
The weight is thus carried up with multiplied block and 
falls power, and also lowered. It is necessary to have 
strong anchors in the wall holding the blocks. ‘The ladder 
legs, too, need to be set up on planks, and secured with 
strong strap hinges. 

The two front ladders are thus brought out, one end 
laid on horses, and the front truss bolted. The rear ladders 


[ 289 ] 


THE BOOK OF ENTERTAINMENTS 





are then set on a second line of horses and the rear truss 
bolted. While the front and rear horses are carrying the . 
front and back trusses, and bolted on corner ladders, the 
gridiron cross braces (carrying the sheaves) are fastened 
with a hook and eye joint. 

The frame is then raised against the back wall, by pulling 
on three sets of blocks and falls, exactly as in a barn raising. 
When the frame is erected, it should be tied strongly to the 
back wall. If the space for the storage of the stage is 
limited, or difficult turns are met, the forward and rear long 
trusses may be made in two parts, cutting their length in 
half. 

The usual type of horses supporting the stage floor can 
be replaced with skeleton box frames, hinged to allow them 
to be folded flat, and thus require but minimum room to 
store. 

While it is difficult to give estimates of cost for a struc- 
ture planned for different parts of the country, the carpenter 
work and lumber for such a stage should run from $400 
to $600. This figure would not include the sets of lines, 
lighting fixtures, curtains, scenery, .drapes, or decorations 
in hangings, or painted scenery enclosing the front. 

While the expenditure is a major one, and too much 
perhaps to be applied against a single evening’s entertain- 
ment, the cost is often apportioned over several events, or 
met by several organizations, and may include the owners 
of the hotel or hall, and so the share for each permits 
the investment to be made. Once the stage is built, erec- 
tion, taking down and storage charges are not serious items. 


[ 290 ] 


CHAPTER XXVII 
MISCELLANEOUS DUTIES OF A COMMITTEE 


With an efficient committee on the job, nobody ever 
perceives any reason for its existence. ‘‘Did you ever see 
anything go so smoothly? ‘Things just ran themselves!” 
is not an uncommon remark, but if things are really allowed 
_to run themselves, it is amazing what muddles invariably 
result. Manna no longer drops from heaven, neither do 
perfect functions occur without somebody’s foresight and 
attention. 

In presenting dramatic productions, it is not sufficient to 
whip the play into shape for the public. During rehearsals 
someone should be on hand to prevent smoking or make 
sure cigar and cigarette stubs are not thrown around. 
After rehearsals, a careful canvas of the house should be 
made in order to ascertain that nothing has been left which 
might cause a fire. 

Before the opening performance, it is also necessary to 
see that the hall is cleaned, the seats dusted and the full 
complement of house lights in working order. While these 
matters are usually attended to in a rented theatre, it is 
just as well to make sure. Certainly such items are gen- 
erally overlooked in the average hall. 

Particularly should arrangements be made for a carriage 
man, as without him to handle car numbers, traffic is sure 
to become congested and irate patrons will depart growling, 
“Don’t be inveigled into attending the Xantippe Club’s 
new show. Such management, my dear! I thought we'd 
never find our car and I nearly caught my death of cold.” 


[ 291 J 


THE BOOK OF ENTERTAINMENTS 








For halls not under regular theatre management, ushers 
should be provided and instructed not only in seating 
arrangements, but in the rudiments of courtesy and a 
smattering of what to do under certain emergencies—as — 
fire, a fight, a patron’s illness. 

Exits should be inspected to make sure that they are un- 
blocked and in working order. Cloak room attendants 
should be provided and if there is a suitable lobby, arrange- | 
ments may be made for the sale of cigarettes and candy. 

It should also be ascertained that someone will be present 
to work the house lights and that a competent box office © 
manager and ticket taker will be on the job. 

Programs should be carefully assembled and revised — 
so that full credit is given not only to performers but to all 
participating to any degree. 

Complimentary tickets should be sent to press representa- 
tives and others unafhliated with the organization who have 
rendered any special service, as the courtesy is apt to beget 
good will which is an invaluable asset to any association. 

While not altogether necessary it is not a bad plan to 
employ a fireman or policeman for emergencies, as these 
seldom occur when anticipated. 

Finally, it is desirable to have someone of authority eas- 
ily accessible at the rear of the auditorium to settle various 
questions always arising as to whether flowers may be 
presented over the footlights and when, whether the 
Salvation Army and Sons of Yahoo may pass contribution ~ 
boxes for their annual picnic, whether a mother with three — 
children may occupy but two seats, whether a Pomeranian © 
may be brought in if its “mother” promises to keep it on 
her lap, whether it is permissible for a fellow to put his 
head on his girl’s shoulder if nobody complains, and count- © 
less other items too insignificant to mention, but important — 
in causing disorder if not expected. These little incidentals © 
are apt to be forgotten after the siege of planning and 


[ 292 J 


DUTIES OF A COMMITTEE 


putting over a big entertainment, but they are the touches 
which not only bring greater comfort to patrons, but give 
a stamp of efficient management that is missed when it 
is lacking even though it may not be appreciated when 
present. 

A hard life—the committee’s—but, oh, how sweet its 
slumbers when the lights are out and the front door locked 
against any possible, “Did you—”’ or ‘Can you tell 











me ” or “Don’t you think?” 
Think! Yes, every committee thinks and it’s 
a bookful! 


[ 293 J 





INDEX 


Acting directions, 206 

Acts, arrangement of, 217 

Acts in One, 216 

Acts, placing, 215 

Advertising, 46, 55 

Aged make-up, 262 

Agreements, 22 

American flag as decoration, 73 

American Pageant Asso., 154 

Aniline dyes, 160 

Animal costumes, 146 

Announcements, 35, 37, 39, 43, 89, 
188 

Antique furniture imitation, 248 

Armor, 160 

Aromas, atmospheric, 271 

Applique, 73, 160 

Artists’ stumps, 258 

Atmospheric illusions, 269-272 

Attendance, estimating, 22 


Backings, 230 

Backsliders, 3 

Ballet skirts, 109 

Balls, unusual, 87, 88, 89, 92, 98, 99 
Ball room, 63, 69 

Bareback riders, 144 
Bathing beach scene, 236 
Battens, 66, 229 

Bazaars, 118-139 

Bazaar features, 124-128, 131 
Bazaar, handkerchief, 121 
Bazaar, Parisian, 121 
Beverages, stage, 272 
Billboards, 54 

Bills, 27, 180 

Bird cages, 123 

Blackwax, 259 

Bluebeard’s wives, 150 
Bodice, 111 

Bond selling, 196 

Boots, Pirate, 113 

Borders, 230, 241 

Booths, 70, 97, 119, 122-124, 149 
Borrowed costumes, 116 


Branches, floral, 80 

Bronze, imitation, 247 

Brushes, paint, 68 

Bubble dance, 222-224 

Burlap in stage decoration, 237 
Burnt cork, 259, 262, 265 
Business details, 21 


Calico curtains, 249 

Canopy, 71 

Canvas, 77, 228 

Cardboard, 235 

Carriage man, 291 

Carriage wheels, 271 

Cases, exhibition, 190 

Caste distinctions, 252 

Cataloguing personnel, 3 

Celebrities, featuring, 3, 51, 94, 135, 
221 

Chairman, 2, 9, 10, 51, 132, 173, 178 

Character make-up, 265 

Chariot, 148 

Charity bazaars, 118-139 

Cheesecloth, 70, 160, 232, 237 

Chinaman, 267 

Chinese coolie, 106 

Chinese girl, 109 

Chinese hat, 112 

Chorus, 161 

Church scene, 232 

Circus rider, 109 

Circus, society, 140 

Clowns, 104, 143, 144 

Clown white, 259 

Clothesbasket for “props,” 281 

Coach colors, 88 

Cocoanut shy, 128 

Colonial effects, 233 

Colors, dry, 88 

Colors, stage, 254 

Columns, illuminated, 232 

Committee work, 1, 9, 132, 166, 189, 
193, 291 

Complimentary tickets, 62, 292 

Compo board, 72 


[ 295 J 


INDEX 








Concessions, 155 

Contracts, 22 

Costumes, 94, 96, 97, 105, 116, 159, 
226 

Costume dances, 83 

Costumers, 86, 103, 105 

Costumes, stage, 251 

Costume slackers, 100-101 

Cowboy, 107, 267 

Cotton, 160 

Crepe hair, 262, 263 

Criticism, 8 

Cues, 206 

Curtain, tableau, 286 

Cut-outs, 73 

Cycloramas, 156, 229 


Dances, 83, 87 

Date, selection of, 21, 25 

Deauville Beach, 74 

Decorations, 63, 88, 92, 93, 96, 119, 
166 

Decorative transformations, 64 

Detective, private, 31 

Design sources, 75, 99 

Dinners, 57, 163, 166, 177 

Director, stage, 275 

Dramatic productions, 202 

Drapes, 248 

Dragon, 147 

Dressing rooms, 282 

Donations, 27, 133 


Ear-rings, 115, 123 
Editors, 48, 192 
English tourist, 106 
Entertainment committee, 1 
Electrician, 69 
Electrotypes, 53 
Elephants, 146 
Episodes, 157 
Exhibitions, 185 
Exhibits, listing, 189 
Expenses, 26, 134 
Exits, 292 
Eyebrows, 261 


Fabrics, 64, 114, 160, 249 
Fancy dress, 83, 172 
Fakirs Society, 87 
Farmers, 267 

Favors, 80 

Figurines, paper, 80 
Fire laws, 30, 77 

Fire glows, 270 


Fireproofing, 77 

Floor cloth, 237 

Flowers, 124, 248 

Flowers, artificial, 78 

Flower painting, 247 

Folk dance, 161 

Framework, 66, 68, 74, 235, 285 
Furniture, 247 ° 


Gates, 238 

Gift horses, 27 

Giraffe, 146 

Gowns, stage, 253 

Grand finale, circus, 149 
Grass, 238 

Glass, decorating, 249 
Grease paint, 257, 260 


Hanging pictures, 189 
Harem lady, 108 

Hedges, 74 

Herald, 161 

Hoofs, sound of, 273 
Horses, wooden, 141 
Humorous exhibitions, 185 


Idea, adapting, 18 

Ideas, 13, 16, 88, 99-100 
Illustrations, 39 

Illustrators, Soc. of, 89, 92, 219 
Interludes, 156 

Invitations, 32, 45 

Irish character, 266 

Italian peasant, 110 


Japanese, 109 
Jokes, 143-144 
Jute, 67 


Kaleidoscopic ball, 92 
Kiosks, 92, 93 

Kit Kat Klub, 88 
Kimonos, 160 


Lacquer, 247 
Lanterns, 69 
Licenses, 29 
Lights, stage, 241-244 
Light source, 241 
Lighting, 69, 240 
Lighting plots, 280 
Lightning, 270 
Lilies, 79 

Lily boat, 222-223 
Lining sticks, 258 


[ 296 J 


™~ 


INDEX 





Linoleum cuts, 39, 238 
Lists, subscription, 193 
Loan exhibits, 188 
Locale, 22, 98 


Mammy songs, 149 
Manager, stage, 279 
Mandarin costume, 105 
Mantel, stage, 232 
Make-up, 256, 261, 264 
Make-up box, 257 
Make-up experts, 256 
Mascaro, 259 
Mechanical effects, 223, 269 
Medallions, 238 
Mediaeval, 110 

Menu, 163, 164 
Minarets, 235 

Mirrors, 248 

Mixing paint, 67 
Modiste shop set, 236 
Money limitations, 65 
Motif, uniform, 86, 118 
Mountain, 234 

Music, 28, 161, 175, 181, 225 
Music plots, 280 
Murals, 68, 93, 96 


Negro make-up, 264 
News stories, 48 

News photo, service, 50 
Nose putty, 262 
Notices, 282 


Oilcloth, art, 72 

Oriental scene, 234, 235 
Outdoor decorations, 77, 156 
Outline, 68 

Optics, law of, 40 


Pageants, 152 

Pails, paint, 67 

Paints, 67, 88 

Paints, scene, 238 
Paper, 37, 67, 80, 88, 98 
Parade, circus, 142 
Parasols, 74 

Parchment, imitation, 80 
Parisian bazaar, 121 
Party “members,” 32 
Patterns, effective, 237 
Performers, circus, 141 
Period costumes, 89, 98 
Permits, 29 

Persian costumes, 106 


Personnel, 3, 174 
Photographs, 39, 49, 191 
Pillows, 248 

Pineapple silk, 217, 247 
Pirate costume, 105, 113 
Pirate set, 236 

Place cards, 81, 124 
Plans, preliminary, 10, 214 
Plants, 74, 125 

Platform, 255 

Plays, selection of, 203 
Postals, 35, 140 

Posters, 140 

Powder, make-up, 259 
Preparations, 21, 76 
Printing, 25, 35 

Program, 10, 11, 168, 292 
Program, sample, 204, 219 
Profile board, 238 
Prompter, 281 

Property men, 281 
Properties, 246, 248, 249, 281 
Property list, 249 
Publicity, 46, 135, 140 


Queue, 114 
Queen’s enemies, 222 


Rain, stage, 270 

Raising money, 193 

Record of ticket sales, 59, 61 
Rehearsals, 150, 161, 225, 227, 277 
Removing crepe hair, 266 
Removing make-up, 268 
Reunions, 173 

Revues, 213, 217 

Ring master, 142 

Roles, 279 

Roofgarden, stage, 235 
Rouge, 51, 261 

Rube, 106 

Rummage sale, 199 

Russian decoration, 87 


Sand, painting, 74 
Sateen, uses of, 71, 
247 

Scene setting, 217 
Scene shifters, 280 
Scenery, 222, 228 
Screens, 190, 248 
Scrim curtains, 273 
Seasonable parties, 17 
Seats, circus, 141 
Selecting committee, 2 


160, 235, 237, 


[297 ] 


INDEX 





Sets for classical music, 237 Tickets, 25, 33, 56 

Shadow box, 273 Tight rope walkers, 144 

Sheik, 106 Tips, 24, 165 

.Sideshows, 150 Title, Importance of, 19, 135 

Sign painter, 68 Trained animal acts, 145 

Silhouette shadows, 87 Train wheels, 273 

Silkaline, 71 Train in distance, 272 

Sky, painted, 74 Tramp character, 267 

Slides, lantern, 54, 140 Transformations, decorative, 64 

Smoke, stage, 270 Trees, 72, 238 

Snakes, artificial, 149 Trucks, decorated, 54 

Snake charmer, 109, 148 Turbans, 112 

Snow, stage, 270 Turkish trousers, 110 

Soliciting exhibits, 188 Turkish toweling, 160 

Soliciting money, 193 Type, 41 

Songs, 175 

South Sea Isles, 87 Underwriting Broley 136 

Spanish costume, 109 Uniforms, 251 

Speakers, 166 Urns, floral, 247. 

Specifications, 22 

Spectacles, Stage, 266 Vaudeville, 213 

Stage dimensions, 287 Velvet, 217 

Stage division, 214 Venetian background, 74 

Stage properties, 246 Vines, 79 

Stage, practical, 284 Voile, 71, 160, 231, 232, 257 

Steam, 270 

Steamer deck, 236 Waits between scenes, 214 

Stems, 80 Wall decorations, 66 

Stencil, 88, 140, 237 Walrus, 146 

Streamers, 72 Wash drawings, 39 

Street fairs, 126 Water, stage, 75, 270, 273 

Strong man, 145 Whiskers, 115, 264 

Stucco effect, 73 Wigs, 114, 264, 265 

Student, Paris art, 106 Wind, stage, 271 

Suggestions, volunteered, 4 Window, stage, 231, 232 

Supper checks, 56, 59 Window cards, 53, 140 
Wings, 230 

Tact, committee, 7 Wood engraving, 39 

Tags, 188, 189 Wool, 160 

Tassels, 247 Workers, volunteer, 76 

Tattooed man, 150 Wrinkles, 260, 262 

Tax, federal, 26 

Telephone, 43, 59, 226 Year book, college, 178 


Thunder, 270 


[298] 

















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